141 570 Manual

Model DP570
Multichannel Audio Tool

User’s Manual
Issue 2 Part Number 91753
Model DP570 User’s Manual
Dolby Laboratories, Inc.
Corporate Headquarters
100 Potrero Avenue
San Francisco, CA 94103-4813
Telephone 415-558-0200
Fax 415-863-1373
www.dolby.com
European Headquarters
Wootton Bassett
Wiltshire, SN4 8QJ, England
Telephone (44) 1793-842100
Fax (44) 1793-842101
Dolby, Dolby Pro Logic, and the double-D symbol are registered trademarks of Dolby Laboratories.
Surround EX and AC-3 are trademarks of Dolby Laboratories.
All other trademarks remain the property of their respective owners.
 2001 Dolby Laboratories Inc; all rights reserved.
S01/13557/13905 Issue 2 Part Number 91753
ii
Table of Contents
List of Figures ............................................................................................................................vi

List of Tables.............................................................................................................................vii
Regulatory Notices and Fusing Information....................................................................viii
Fusing Information ..................................................................................................x
Chapter 1 Introduction
Principles of Operation ........................................................................................ 1-1
Chapter 2 Setting Up
2.1 Unpacking and Inspection........................................................................ 2-1
2.2 Installing .................................................................................................. 2-1
2.3 The Back Panel ........................................................................................ 2-2
2.4 Quick Start Guide .................................................................................... 2-5
2.4.1 Viewing Current Status Menu ..................................................... 2-5
2.4.2 Setting Up Monitors..................................................................... 2-6
Chapter 3 Applications
3.1 Content Creation ...................................................................................... 3-3
3.1.1 Downmixing ................................................................................ 3-3
3.1.2 Setting Dialogue Level ................................................................ 3-4
3.1.3 Setting Dynamic Range Control .................................................. 3-6
3.2 Postproduction ......................................................................................... 3-7
3.2.1 Surround-Compatible Postproduction Using Dolby E ................ 3-7
3.2.2 Replacing One or More Values within a Metadata Stream ......... 3-8
3.2.3 Adjusting the Dialogue Level Parameter in Postproduction........ 3-8
3.2.4 Adjusting Other Parameters......................................................... 3-8
3.3 Live Broadcast ......................................................................................... 3-9
Chapter 4 Unique Features
4.1 Using External Metadata ......................................................................... 4-1
4.1.1 Choosing the Source .................................................................... 4-2
4.1.2 Limitations When Using External Metadata................................ 4-4
4.1.3 Troubleshooting Metadata Problems ........................................... 4-5
4.2 Internal Metadata Default Settings .......................................................... 4-5
4.3 User Presets.............................................................................................. 4-6
4.3.1 Emulator-Only ............................................................................. 4-7
4.3.2 Authoring-Only............................................................................ 4-7
4.3.3 All ................................................................................................ 4-7
4.3.4 Using Different Preset Types to Audition Settings...................... 4-8
4.4 Using Lt/Rt Input Mode........................................................................... 4-8
4.5 Channel Mapping..................................................................................... 4-9
iii
4.6 Input Router Settings.............................................................................. 4-10

4.7 Using the GPI/O Port ............................................................................. 4-10
4.7.1 Using an External Shaft Encoder to Control Master Volume.... 4-15
4.7.2 Solo Input Mode......................................................................... 4-15
Chapter 5 Front-Panel Interface
5.1 Hot Button Menus .................................................................................... 5-1
5.2 The Setup Menu ....................................................................................... 5-2
5.2.1 Selecting Parameters .................................................................... 5-3
5.2.2 Entering Text................................................................................ 5-3
5.3 Preset/Program Buttons............................................................................ 5-4
5.4 Listening Mode Selection Buttons ........................................................... 5-5
5.5 LED Indicators ......................................................................................... 5-6
Chapter 6 Front-Panel Menus
6.1 Setup Menu .............................................................................................. 6-1
6.1.1 Program Select ............................................................................. 6-1
6.1.2 User Presets.................................................................................. 6-1
6.1.3 Operating Mode ........................................................................... 6-2
6.1.4 Program Config............................................................................ 6-3
6.1.5 Metadata Params .......................................................................... 6-3
6.1.6 Configuration ............................................................................... 6-5
6.1.7 System Settings ............................................................................ 6-7
6.2 Status Menu.............................................................................................. 6-9
Chapter 7 DolbyRemote 570
7.1 System Requirements............................................................................... 7-1
7.2 Hardware Connection............................................................................... 7-1
7.3 Installing the Software ............................................................................. 7-1
7.4 Launching the Application....................................................................... 7-2
7.5 Display Overview..................................................................................... 7-3
7.5.1 Connect ........................................................................................ 7-3
7.5.2 Setup............................................................................................. 7-3
7.5.3 Router........................................................................................... 7-5
7.5.4 User Presets.................................................................................. 7-6
7.6 Main Window........................................................................................... 7-6
7.6.1 Program Configuration................................................................. 7-7
7.6.2 Status ............................................................................................ 7-7
7.6.3 Program Select ............................................................................. 7-8
7.6.4 Dialogue Level ............................................................................. 7-8
7.6.5 Emulator....................................................................................... 7-9
7.7 Metadata Window .................................................................................. 7-10
7.7.1 Dolby E ...................................................................................... 7-10
iv
7.7.2 Audio Processing ....................................................................... 7-11

7.7.3 Dynamic Range.......................................................................... 7-12
7.7.4 Bitstream Info ............................................................................ 7-13
7.7.5 Extended BSI ............................................................................. 7-14
7.8 Monitor Window.................................................................................... 7-15
7.8.1 Volume....................................................................................... 7-15
7.8.2 Speakers ..................................................................................... 7-16
7.9 Input Lock.............................................................................................. 7-16
7.10 Level Meters .......................................................................................... 7-16
7.11 Output Control ....................................................................................... 7-16
7.12 Downmix ............................................................................................... 7-17
Chapter 8 Specifications
8.1 Electrical Specifications........................................................................... 8-1
8.2 Front-Panel RS-232 Remote Connector .................................................. 8-2
8.3 Digital Audio Inputs (5)........................................................................... 8-2
8.4 Digital Audio Outputs (8) ........................................................................ 8-2
8.5 V Ref Input .............................................................................................. 8-2
8.6 Metadata Input Ports (2) .......................................................................... 8-3
8.7 Metadata Output Port............................................................................... 8-3
8.8 Rear-Panel Remote Port........................................................................... 8-4
8.9 10BASE-T Port (Ethernet)....................................................................... 8-4
8.10 Multichannel Analog Output ................................................................... 8-5
8.11 Stereo/Mono/Solo Analog Output ........................................................... 8-5
8.12 Mechanical Specifications ....................................................................... 8-6
8.13 Environmental Specifications .................................................................. 8-6
Appendix A Metadata
A.1 Metadata Overview................................................................................. A-1
A.2 Dialogue Level........................................................................................ A-4
A.3 Dynamic Range Control ......................................................................... A-6
Dynamic Range Control Profiles ............................................................ A-8
A.4 Downmixing ........................................................................................... A-9
A.5 Parameter Definitions ........................................................................... A-11
A.5.1 Universal Parameters ............................................................... A-12
A.5.2 Extended Bitstream Information Parameters ........................... A-19
A.6 Metadata Combinations ........................................................................ A-22
Appendix B Front-Panel Menu Trees.................................................................................B-1
v
List of Figures
Figure 1 Checking the Main Fuse................................................................................................ x
Figure 1-1 Audio Block Diagram ................................................................................................ 1-2
Figure 2-1 Connecting the DP570................................................................................................ 2-2
Figure 2-2 Connections: Signal In and Out.................................................................................. 2-3
Figure 2-3 Connections: Analog Outputs, GPI/O, and Ethernet.................................................. 2-4
Figure 2-4 Connections: Metadata In and Out, Serial Remote .................................................... 2-4
Figure 2-5 Bass Management Menu Options............................................................................... 2-9
Figure 2-6 Subwoofer Crossover Frequency Menu Options ....................................................... 2-9
Figure 2-7 Real Time Analyzer (RTA) Display ........................................................................ 2-13
Figure 3-1 Control Options .......................................................................................................... 3-2
Figure 3-2 Postproduction Using Dolby E................................................................................... 3-7
Figure 3-3 Parameter Replacement.............................................................................................. 3-8
Figure 4-1 Serial Metadata Frame Structure................................................................................ 4-2
Figure 4-2 Overriding Individual Parameter Values.................................................................... 4-3
Figure 4-3 Adding a Second Program.......................................................................................... 4-4
Figure 4-4 GPI/O Pin Numbers.................................................................................................. 4-10
Figure 5-1 Front-Panel Navigation Buttons................................................................................. 5-1
Figure 5-2 Preset and Program Buttons ....................................................................................... 5-4
Figure 5-3 Listening Mode Selection Buttons ............................................................................. 5-5
Figure 5-4 Basic LED Indicators ................................................................................................. 5-6
Figure 5-5 Channel Activity LED Indicators............................................................................... 5-7
Figure 7-1 Communications Configuration ................................................................................. 7-2
Figure 7-2 DolbyRemote 570 Windows ...................................................................................... 7-3
Figure 7-3 Setup Router Window ................................................................................................ 7-5
Figure 7-4 Main Window............................................................................................................. 7-7
Figure 7-5 Dolby E Metadata Tab ............................................................................................. 7-10
Figure 7-6 Audio Processing Tab .............................................................................................. 7-11
Figure 7-7 Dynamic Range Tab................................................................................................. 7-12
Figure 7-8 Bitstream Info Tab.................................................................................................... 7-13
Figure 7-9 Extended BSI Tab .................................................................................................... 7-14
Figure 7-10 The Monitor Window............................................................................................. 7-15
Figure 7-11 Level MeterTabs..................................................................................................... 7-16
Figure A-1 Metadata Flow from Production to Consumer ......................................................... A-3
Figure A-2 DRC Profile Pattern.................................................................................................. A-8
vi
List of Tables
Table 4-1 Metadata Defaults........................................................................................................ 4-6
Table 4-2 Channel Mapping according to Program Configuration ............................................. 4-9
Table 4-3 Factory Preset Input Assignments ............................................................................. 4-10
Table 4-4 GPI/O Pin Assignments............................................................................................. 4-11
Table 4-5 Functions available for GPO Pin Assignment........................................................... 4-12
Table 4-6 Assigned GPO Pins (not user-definable)................................................................... 4-13
Table 4-7 Functions Available for GPI Pin Assignment ........................................................... 4-14
Table 4-8 Assigned GPI Pins (not user-definable) .................................................................... 4-14
Table 4-9 Shaft Encoder Interface Description ......................................................................... 4-15
Table 4-10 Shaft Encoder Interface Electrical Characteristics .................................................. 4-15
Table 5-1 Navigation Button Functions....................................................................................... 5-2
Table 5-2 Commands that Exit the Setup Menu.......................................................................... 5-2
Table 5-3 Navigation in Text Entry Menu................................................................................... 5-4
Table 5-4 Channel Activity LED Display Definitions ................................................................ 5-7
Table 6-1 Lt/Rt Downmix Options .............................................................................................. 6-2
Table 6-2 Metadata Params Submenus........................................................................................ 6-4
Table 6-3 Emulator Config Submenus ........................................................................................ 6-6
Table 6-4 Router Config Submenus ............................................................................................ 6-6
Table 6-5 Monitor Config Submenus .......................................................................................... 6-7
Table 7-1 Communications Parameters ....................................................................................... 7-2
Table 7-2 Derived Mix Level Values from Extended BSI Lo/Ro Settings ............................... 7-13
Table A-1 Metadata Parameters.................................................................................................. A-4
Table A-2 Outputs from Various Dolby Digital Signal Processing Equipment....................... A-10
Table A-3 Examples of Possible Metadata Settings ................................................................. A-23
vii
Regulatory Notices and Fusing Information

FCC
This equipment has been tested and found to comply with the limits for a Class A digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference when the equipment is operated in a commercial environment. This
equipment generates, uses, and can radiate radio frequency energy and, if not installed and used
in accordance with this instruction manual, may cause harmful interference to radio
communications. Operation of this equipment in a residential area is likely to cause harmful
interference in which case the user will be required to correct the interference at his or her own
expense.
Canada
This Class A digital apparatus complies with Canadian ICES-003.
UL
WARNING: Troubleshooting must be performed by a trained technician. Do not

attempt to service this equipment unless you are qualified to do so.
Check that the correct fuses have been installed. To reduce the risk of fire, replace
only with fuses of the same type and rating.
Exposed portions of the power supply assembly are electrically “hot”. In order to reduce the
risk of electrical shock, the power cord MUST be disconnected when the power supply
assembly is removed.
The ground terminal of the power plug is connected

directly to the chassis of the unit. For continued protection
against electric shock, a correctly wired and grounded
(earthed) three-pin power outlet must be used. Do not use
a ground-lifting adapter and never cut the ground pin on
the three-prong plug.
UK
The power cord Dolby part 92021 supplied for use in Europe is not suitable for use in the UK. To use
the cord in the UK cut off the CEE7/7 plug and replace with an approved BS 1363 13A plug:
• The core that is coloured green and yellow must be connected to the terminal in
the plug identified by the letter E or by the earth symbol or coloured green or
green and yellow.
• The core that is coloured blue must be connected to the terminal that is marked
with the letter N or coloured black.
• The core that is coloured brown must be connected to the terminal that is marked
with the letter L or coloured red.
• This apparatus must be earthed.
viii
EU
This equipment complies with the EMC requirements of EN55103-1 and EN55103-2 when operated in an E2
environment in accordance with this manual.
IMPORTANT SAFETY NOTICE

This unit complies with the safety standard EN60065. The unit shall not be exposed to dripping or splashing and no objects filled with liquids,
such as coffee cups, shall be placed on the equipment. To ensure safe operation and to guard against potential shock hazard or risk of fire, the
following must be observed:
o Ensure that your mains supply is in the correct range for the input power requirement of the unit. GB
o Ensure fuses fitted are the correct rating and type as marked on the unit.
o The unit must be earthed by connecting to a correctly wired and earthed power outlet.
o The power cord supplied with this unit must be wired as follows:
Live—Brown Neutral—Blue Earth—Green/Yellow
IMPORTANT – NOTE DE SECURITE
Ce materiel est conforme à la norme EN60065. Ne pas exposer cet appareil aux éclaboussures ou aux gouttes de liquide. Ne pas poser d'objets
remplis de liquide, tels que des tasses de café, sur l'appareil. Pour vous assurer d'un fonctionnement sans danger et de prévenir
tout choc électrique ou tout risque d'incendie, veillez à observer les recommandations suivantes.
F
o Le selecteur de tension doit être placé sur la valeur correspondante à votre alimentation réseau.
o Les fusibles doivent correspondre à la valeur indiquée sur le materiel.
o Le materiel doit être correctement relié à la terre.
o Le cordon secteur livré avec le materiel doit être cablé de la manière suivante:
Phase—Brun Neutre—Bleu Terre—Vert/Jaune
WICHTIGER SICHERHEITSHINWEIS
Dieses Gerät entspricht der Sicherheitsnorm EN60065. Das Gerät darf nicht mit Flüssigkeiten (Spritzwasser usw.) in Berührung kommen; stellen
Sie keine Gefäße, z.B. Kaffeetassen, auf das Gerät. Für das sichere Funktionieren des Gerätes und zur Unfallverhütung (elektrischer Schlag,
Feuer) sind die folgenden Regeln unbedingt einzuhalten:
o Der Spannungswähler muß auf Ihre Netzspannung eingestellt sein.
D
o Die Sicherungen müssen in Typ und Stromwert mit den Angaben auf dem Gerät übereinstimmen.
o Die Erdung des Gerätes muß über eine geerdete Steckdose gewährleistet sein.
o Das mitgelieferte Netzkabel muß wie folgt verdrahtet werden:
Phase—braun Nulleiter—blau Erde—grün/gelb
NORME DI SICUREZZA – IMPORTANTE
Questa apparecchiatura è stata costruita in accordo alle norme di sicurezza EN60065. Il prodotto non deve essere sottoposto a schizzi, spruzzi e
gocciolamenti, e nessun tipo di oggetto riempito con liquidi, come ad esempio tazze di caffè, deve essere appoggiato sul dispositivo. Per una
perfetta sicurezza ed al fine di evitare eventuali rischi di scossa êlettrica o d'incendio vanno osservate le seguenti misure di sicurezza:
o Assicurarsi che il selettore di cambio tensione sia posizionato sul valore corretto.
o Assicurarsi che la portata ed il tipo di fusibili siano quelli prescritti dalla casa costruttrice. I
o L'apparecchiatura deve avere un collegamento di messa a terra ben eseguito; anche la connessione rete deve
avere un collegamento a terra.
o Il cavo di alimentazione a corredo dell'apparecchiatura deve essere collegato come segue:
Filo tensione—Marrone Neutro—Blu Massa—Verde/Giallo
AVISO IMPORTANTE DE SEGURIDAD
Esta unidad cumple con la norma de seguridad EN60065. La unidad no debe ser expuesta a goteos o salpicaduras y no deben colocarse sobre el
equipo recipientes con liquidos, como tazas de cafe. Para asegurarse un funcionamiento seguro y prevenir cualquier posible peligro de descarga o
riesgo de incendio, se han de observar las siguientes precauciones:
o Asegúrese que el selector de tensión esté ajustado a la tensión correcta para su alimentación. E
o Asegúrese que los fusibles colocados son del tipo y valor correctos, tal como se marca en la unidad.
o La unidad debe ser puesta a tierra, conectándola a un conector de red correctamente cableado y puesto a tierra.
o El cable de red suministrado con esta unidad, debe ser cableado como sigue:
Vivo—Marrón Neutro—Azul Tierra—Verde/Amarillo
VIKTIGA SÄKERHETSÅTGÄRDER!
Denna enhet uppfyller säkerhetsstandard EN60065. Enheten får ej utsättas för yttre åverkan samt föremål innehållande vätska, såsom
kaffemuggar, får ej placeras på utrustningen." För att garantera säkerheten och gardera mot eventuell elchock eller brandrisk, måste följande
observeras:
o Kontrollera att spänningsväljaren är inställd på korrekt nätspänning. S
o Konrollera att säkringarna är av rätt typ och för rätt strömstyrka så som anvisningarna på enheten föreskriver.
o Enheten måste vara jordad genom anslutning till ett korrekt kopplat och jordat el-uttag.
o El-sladden som medföljer denna enhet måste kopplas enligt foljande:
Fas—Brun Neutral—Blå Jord—Grön/Gul
BELANGRIJK VEILIGHEIDS-VOORSCHRIFT:
Deze unit voldoet aan de EN60065 veiligheids-standaards. Dit apparaat mag niet worden blootgesteld aan vocht. Vanwege het risico dat er
druppels in het apparaat vallen, dient u er geen vloeistoffen in bekers op te plaatsen. Voor een veilig gebruik en om het gevaar van electrische
schokken en het risico van brand te vermijden, dienen de volgende regels in acht te worden genomen:
o Controleer of de spanningscaroussel op het juiste Voltage staat.
o Gebruik alleen zekeringen van de aangegeven typen en waarden. NL
o Aansluiting van de unit alleen aan een geaarde wandcontactdoos.
o De netkabel die met de unit wordt geleverd, moet als volgt worden aangesloten:
Fase—Bruin Nul—Blauw Aarde—Groen/Geel
ix
Fusing Information
WARNING: To reduce the risk of fire, replace fuses only with the same type
and rating.
Both units use a universal switching power supply that handles the full range of
nominal mains voltages between 90 and 264 VAC and any frequency between 50 Hz
and 60 Hz.
Check Main Fuse

The Main fuse rating is:
T 1A L (1 Amp, 250 V, 20 mm, time-lag, low breaking capacity) for all operating
voltages.
WARNING: The power to the unit must be off when the following steps are
performed. Ensure that the main power cable to the unit is not connected to a
power source.
1. Open the fuse compartment door in the AC power input housing with a small flat-
blade screwdriver (Figure 1-1). Carefully pull out the fuse carrier.
2. Check that the fuse has the correct rating. The fuse carrier must be inserted into
the compartment with the orientation shown in Figure 1-1. Do not force the
carrier into the compartment or both could be damaged.
3. Snap the fuse compartment door closed.
Fuse carrier
Installed fuse
Open the door
Figure 1 Checking the Main Fuse
Internal Fuse
The switching power supply contains a separate fuse. Most fault conditions should be
protected by the main fuse.
If you find it necessary to replace the internal fuse, be certain to replace it with a fuse
of the same type and rating as printed on the switching power supply board.
x
Chapter 1
Introduction
The DP570 Multichannel Audio Tool offers producers and engineers a significant
improvement in control over the creation and ultimate delivery of multichannel audio
when mastering Dolby data streams.
It enables a content producer to listen to a program’s audio while monitoring the
effect of metadata in real time. Used in either postproduction or live situations,
metadata allows an engineer to optimize audio response for specific playback
environments without altering source audio tracks or compromising artistic integrity.
When the producer is satisfied, the metadata settings are recorded. Metadata is carried
along with the program as part of a Dolby coded audio data stream (Dolby E and/or
Dolby Digital), the ultimate destination being decoding by the end-user, who then
hears exactly what the producer set up for that program.
The DP570 provides a convenient interface to preview and select metadata
parameters during the mastering of Dolby coded audio data streams.
Principles of Operation
Dolby Laboratories has produced or licensed several products that allow encoding of
multichannel audio and accompanying metadata. A Dolby Digital (AC-3) encoder
combines coded audio with metadata to produce a single-program data stream that is
sent to a consumer decoder (usually an A/V receiver, DVD player, or set-top box). A
Dolby E encoder can encode multiple program streams with individual metadata
streams for each program. After decoding, the program audio, along with the
metadata streams, can then be passed to multiple Dolby Digital encoders for
mastering of Dolby Digital data streams.
Until now, the only way to hear the effect of metadata on audio during mastering was
to pass the audio through the Dolby Digital encode/decode chain. This procedure
could not be achieved in real time and offered an unwieldy interface. The DP570
provides this function in real time by applying metadata parameters to base-band
PCM audio. This function, called “Emulation,” affords a method to preview the
effects of downmixing, setting dialogue level, Pro Logic decoding and other
important monitoring functions that are controlled by metadata and experienced by
consumers. Furthermore, the DP570 provides a convenient and user-friendly interface
that simplifies the process of multichannel audio production and mastering.
In Figure 1-1, the audio path is broken into major functional blocks. In this diagram,
features that control the operation of a block are connected to the block by a dotted line.
1-1
Model DP570 User’s Manual Introduction
Router
Config
Prgm Select
Metadata
List Mode
Spkr select
Emulator
Config
Input Meter Output Meter
Measurement Measurement
Point Point
R
1/2 L/R
Emulator SW C/
3/4 AES Bass AES SW
Rcvr Router (DRC, dialnorm, manage- Xmit
Ls
x4 downmix, ment x4
P/L decode)
Rs Ls/
5/6
Rs
Bsl
Bsr Bsl
7/8 /
Bsr
Vol,
Mute
Spkr
Trim
1/2 L
R
3/4 AES From C
Xmit router Output
D/A Trims SW
x4 outputs Volume Bal.
5/6 x8 x8 Ls
x8
Rs
7/8 Bsl
Bsr
Lt/ AES
Rt Rcvr Lo
Output
Solo Mode Router Spkr Select
Bal. (2) Ro
L
R Output
Mono
Bal.
Cat. No. 548 Analog Option Card
Figure 1-1 Audio Block Diagram
1-2
Model DP570 User’s Manual Introduction
Digital audio input on the DP570 is via four female BNC connectors, allowing a total
of eight channels. The emulator section of the DP570 (like the Dolby DP571) requires
the input channel assignment to conform to a fixed definition based upon the program
configuration selected (as designated in SMPTE 320M). Since previously recorded
material may arrive in formats that do not match the chosen program configuration,
the DP570 provides the ability to reroute the input channels to match the expected
configuration, this allows other equipment to be sent the correct channel assignment.
The emulator section provides the bulk of the audio processing, including application
of metadata, downmixing, and Pro Logic decoding. All possible listening options
allowed by consumer decoders are provided in the emulator(from high-end home
theaters to mono TV sets). Note that the inputs to the emulator section may be
multiple, unrelated channels but the outputs are referred to as speaker channels and
represent only the active program. Once the input channel configuration has been set,
the selected active program will appear in the appropriate speaker channels
irrespective of the program’s appearance on the input channels, thus simplifying
installation and integration into existing multichannel monitoring environments.
You can view or change metadata values for the active program only.
The emulator section is followed by the bass management section, which provides the
ability to route low frequencies to the appropriate speaker channels. The output of the
bass management section is sent to the digital audio outputs (emulator outputs) as
well as the analog monitor section (if fitted).
The Cat. No. 548 Analog Option Card provides an analog monitor section and some
additional features to ease interfacing to existing mixing and monitoring
environments. This optional analog monitor section provides features including
multiple speaker-configuration outputs, a master volume control, speaker trim
controls, and an input for a console solo bus.
1-3
Chapter 2
Setting Up
This chapter covers all connection requirements for the DP570. To quickly begin
using the DP570 in your system, see Section 2.4, Quick Start Guide.
2.1 Unpacking and Inspection

Before unpacking the unit, inspect the outer carton for shipping damage. If the carton
shows damage, inspect the unit in those areas. The BNC connectors on the rear panel
are covered with plastic caps.
Essential items are provided with the unit, including:

• A power cord.
• A floppy disk with the DolbyRemote 570 software for installation.
• A bag containing a video reference 75Ω terminator, rack-mount screws and
washers, and a serial connection cable for the front-panel RS-232 port.
• Warranty information. Fill out the warranty card and return to Dolby
Laboratories. For software upgrades, register your product on the software
upgrades page at www.dolby.com/pro.
2.2 Installing
Installing a DP570 requires:
• Two standard rackspace units.
• A suitable monitoring system. If the Cat. No. 548 Analog Option Card is
present then the outputs can feed directly into amplifiers and speakers. If not,
then some form of monitoring control will be required to change listening
level, operate speaker mutes, and so forth; this may be provided by your
console. We recommend a multichannel listening environment with at least
six speakers (for proper monitoring of a 5.1-channel signal).
2-1
Model DP570 User’s Manual Setting Up
• Cables. Use standard 75Ω BNC cables for digital signal connections. To
connect to digital equipment with 110Ω XLR connectors, use impedance-
matching transformers (readily available from Canare, Neutrik and other
manufacturers). To connect the analog monitor outputs, a 25-pin male
D-connector that converts to male XLR connectors is available from Tascam
and other manufacturers. You can use the same cable type for the
stereo/mono/solo connector by replacing an XLR connector (exchanging the
male for a female) to account for the solo bus input to the DP570. Pinout
information for this connector is in Section 8.11.
• A video reference (V Ref) input and terminator. The V Ref signal must be
terminated with a 75Ω impedance on the last device in the signal chain. A
terminator is provided in the packing kit.
A typical physical installation of a basic setup is shown in Figure 2-1.
Video Ref
Not present if
using DP569
V Ref V Ref
1/2 1/2 1/2
3/4 Audio Router 3/4 3/4
5/6 In Out 5/6 5/6
Mixing Console 7/8 7/8 7/8 DP571 or DP569
DP570 Not present if
using DP569
MD
In
Multichannel MD Out
Analog out
5.1-Channel Monitor
R Rs
C SW
L Ls
Figure 2-1 Connecting the DP570
The DP570 allows for a more complex setup, which can include two metadata inputs
and separate speaker systems for multichannel, stereo, and mono monitoring as well
as a discrete solo input. Figure 2-1 illustrates a basic signal flow.
2.3 The Back Panel

The Main fuse rating is:
T 1A L (1 Amp, 250 V, 20 mm, time-lag, low breaking capacity) for all operating
voltages.
2-2
WARNING: Before applying power, check the main fuse using the procedure
on page x.
Connection Ports
The following three figures show the connection ports. Definitions of each port
follow each figure.
1 2
Model DP570
Video Lt / Rt
Multichannel
Ref Input
Audio Tool
Digital
1/2 3/4 5/6 7/8
Inputs
3
1/2 3/4 5/6 7/8

Router
Outputs 4
L/R C/
SW
Ls/
Rs
Bsl/
Bsr
Emulator
Outputs 5
Figure 2-2 Connections: Signal In and Out
Figure 2-2 definitions:

1. Video Ref. Connect the V Ref signal to either jack, and use the second jack to
pass the signal to the next device in the chain, or terminate. The V Ref signal must
be terminated with a 75Ω impedance on the last device in the signal chain.
2. Lt/Rt Input. Connect a Dolby Surround encoded stereo PCM mix to either jack.
You can use the second jack as a loop through, if not then it must be terminated
with a 75Ω impedance.
3. Digital Audio In. Connect the multichannel PCM signals to these jacks.
Note: A valid connection is required on the Digital Input channel 1/2 jack for the
system to operate.
4. Router Out. Sends re-routed PCM audio on to next device in chain. These
outputs are not affected by metadata changes. Use for the main digital signal
output (often called program), regardless of whether you are reassigning signals to
different channels. For information on how to reassign signals from Audio In to
different channels, see Router Config on page 6-6.
5. Emulator Out. Digital audio outputs for monitoring the effects of metadata and
downmixing on the audio program. Connect to your own D/A converter if you are
monitoring without using the Cat. No. 548 Analog Option Card. These outputs are
affected by metadata changes and should only be used to send a signal to the
monitoring system.
2-3
1 2
19 1
3 4
37 20
GP I/O
Figure 2-3 Connections: Analog Outputs, GPI/O, and Ethernet

1. Stereo/Mono/Solo. Analog output—connect into the monitoring system or
console, if stereo or mono listening modes or the solo function are required. For
pinout information, see Section 8.11, Stereo/Mono/Solo Analog Output. (Analog
outputs are available only in units equipped with the Cat. No. 548 Analog Option
Card.)
2. Multichannel. Analog output—connect into the multichannel monitoring system,
(requires at least 5 main channels and can support 2 additional outputs for
Surround EX). This system can be used to monitor all listening modes. For pinout
information, see Section 8.10, Multichannel Analog Output. (Analog outputs are
available only in units equipped with the Cat. No. 548 Analog Option Card.)
3. GPI/O. Can connect to the GPI/O port on your console or to a dedicated GPI/O
controller. See Section 4.7, Using the GPI/O Port, for details.
4. 10BASE-T. Ethernet port for running the software interface on a network and
status monitoring. Not active in current release.
1 2
3 4
Figure 2-4 Connections: Metadata In and Out, Serial Remote

1. Metadata 1. Input port for external metadata. This input source is identified as
Ext 1 on DP570 menus.
2. Metadata Out. Output port for metadata. Connect to a downstream Dolby E or
Dolby Digital encoder.
3. Metadata 2. Input port for external metadata. This input source is identified as
Ext 2 on DP570 menus.
4. Remote RS-485. Serial port for remote software interface. Connect to a RS-485
serial port on either a computer or your console.
2-4
Once you make the physical connections, use the Quick Start Guide to get your
system ready to use.
2.4 Quick Start Guide

After powering up, the DP570 displays the current status menu.
2.4.1 Viewing Current Status Menu

The factory default is:
1 2
5.1+2 Internal
Prog 1 3/2L 27
3 5
4
The status menu shows you:
1. Program Configuration. In this example, 5.1+2 includes two programs—

Program 1, a 5.1 mix; and Program 2, a two-channel mix. Individual metadata is
transmitted for each program.
2. Metadata source. Internal, Ext 1, or Ext 2.
3. Program selection. Displays the text (which can be user-entered) describing the
program that is selected for emulation and metadata authoring.
4. Channel mode. Displays for the current program selection, in this example a 5.1
mix. Here 3/2 is the channel mode (three front channels, two rear channels). The L
indicates that the LFE channel is enabled. When the LFE channel is disabled, the
L does not appear.
5. Dialogue Level. Displays the dialogue level value for the currently selected
program. In this example, –27 is the selected value for the dialogue level
parameter. See Section 3.1.2, Setting Dialogue Level for more information.
All the parameters shown can be adjusted using the front-panel setup menu or the
remote software. For directions on menu navigation using the front-panel buttons, see
Chapter 3, Front-Panel Interface.
Note: We strongly recommend installing and using the remote software to operate the
DP570. While all functions are available through the front-panel navigation
buttons, and steps to set up the unit using the front-panel buttons are provided
in this Quick Start Guide, the remote software provides easiest access to
features and a more comprehensive view of the DP570’s capabilities.
2-5
To run the remote software, connect a computer to the DP570 via either the RS-485
port on the rear panel, or the RS-232 port on the front panel. For details on installing
and using the remote software, see Chapter 7, DolbyRemote 570. To begin remote
software operation, on the front panel press Shift once so that the button illuminates,
then ←. (Do not hold down Shift while pressing ←.) To disable remote operation and
resume using the front-panel interface, press Shift, ← again.
2.4.2 Setting Up Monitors

To prepare your listening environment:
1. Choose back surround speaker setting.

2. Set the delay values for different listening configurations.
3. Assign bass management settings.
4. Calibrate the speakers.
Note: All adjustments necessary in setting up a monitor system are available on a

single screen in the DolbyRemote 570 software. To access this screen, click
the Setup button and view the Monitor tab.
If you are using the DolbyRemote 570 software, proceed through all the
following setup procedures without using the front-panel button instructions
for each setting, instead setting each value using on-screen controls.
Back Surround Speaker

Choose the back surround speaker setting appropriate to your system:
Two surround speakers are used in standard 5.1-channel monitoring systems
(setting: none). Three speakers are used in systems capable of Surround EX
monitoring with a single back surround speaker (setting: 1). Four speakers are
used in systems monitoring Surround EX mixes with two speakers for the back
surround channel (setting: 2).
To enter the back surround speaker setting using the front-panel buttons:
1. Press the Setup button to display the Setup menu.
2. Press the → button to change the second-line display. When it displays
Configuration, press Enter.
The display changes to:

Configuration
Emulator Config
3. Press Enter.
2-6
4. Press the → button to change the second-line display to Back Surround,

then press Enter.
5. Press the arrow buttons to select the appropriate setting, then press Enter.
6. Press Esc to return to the Emulator Config menu.
Speaker Delay Values

Adjusting speaker delay values is an essential step in configuring your system.
Because Dolby Digital and Dolby Surround Pro Logic process signals differently,
different calculations should be used to calculate delay settings.
To calculate the delay settings, measure and record the distance from the reference
listening position to each of the five speakers:
• Left speaker (L)

• Center speaker (C)
• Right speaker (R)
• Left surround speaker (Ls)
• Right surround speaker (Rs)
Make all of these measurements in feet. (If measuring in meters, then multiply the
metric measurements by three to get the approximate distance in feet.) No
measurement is necessary for back surround speakers, as this value is automatically
calculated as a function of Dolby Surround EX.
Note: Left and right speakers should be equidistant from the reference listening
position. If they are not, adjust the speaker positions.
In the calculations that follow:

L= the distance from the left speaker to the reference listening position
C= the distance from the center speaker to the reference listening position
R= the distance from the right speaker to the reference listening position
S= the shorter of the distances from Ls or Rs to the reference listening position
Center Delay
To calculate the setting for center delay:
L – C= setting in ms for center delay
For example, if C is two feet less than L or R, set center delay to 2 ms. If C is three
feet more than L or R, set center delay to –3 ms. If C=L=R, set center delay to 0 ms.
If you set a negative time value for center delay, the DP570 actually sets center delay
to 0 and adds corresponding delay time to the left, right, and surround outputs.
2-7
To enter the center delay setting using the front-panel buttons:
1. From the Emulator Config menu, press the → button to change the
second line to Center Delay, then press Enter.
2. Press the arrow buttons to change the value of the center delay to the setting
you want, then press Enter.
For complete instructions on using the front-panel buttons, see Chapter 3, Front-Panel
Interface.
Surround Delay
To calculate the setting for surround delay:
C – S= setting in ms for surround delay.
To enter the surround delay setting using the front-panel buttons:
second-line display to Surround Delay, then press Enter.
2. Press the arrow buttons to change the value of the surround delay to the
setting you want, then press Enter.
Pro Logic Delay

To calculate the setting for Pro Logic delay:
C – S + 15= setting in ms for Pro Logic delay.
To enter the Pro Logic delay setting using the front-panel buttons:
second-line display to Pro Logic Delay, then press Enter.
2. Press the arrow buttons to change the value of the surround delay to the
setting you want, then press Enter.
Bass Management
If you have a 5.1-channel monitor system with full-range speakers at every channel
and a subwoofer, you may not need to use bass management, and can leave this
feature at the factory default, none. In none mode, only the LFE channel is sent to
the subwoofer.
2-8
If you have any other configuration of speakers, you should choose the bass
management setting appropriate to your system. Bass management involves selecting
options from both the Bass Management and SW Xover Freq menus. For
example:
• If your monitoring system consists of five satellite speakers and a subwoofer,

you can redirect the low frequencies from the five main channels to the
subwoofer output.
• If you have small Center and Surround speakers, direct the low frequencies
from those channels to the Left, Right, or subwoofer outputs.
• If no subwoofer is available, redirect the LFE channel to the Left and Right
channel decoder outputs.
The setting for the subwoofer crossover frequency depends on the capability of the
speakers from which you are diverting low frequencies. If those speakers are
particularly small, choose the highest frequency, 120 Hz. This not only produces
better response from your system, but also protects small speakers from damage.
See Figure 2-5 for Bass Management menu options, and Figure 2-6 for SW
Xover Freq menu options.
None
C/S/LFE→L/R
SRND/LFE→L/R
CNTR/LFE→L/R
CNTR/SRND→L/R
LFE→L/R
SURROUND→L/R
CENTER→L/R
L/C/R/S→SW
CNTR/SRND→SW
SURROUND→SW
CENTER→SW
Figure 2-5 Bass Management Menu Options
80 Hz
100 Hz
120 Hz
Figure 2-6 Subwoofer Crossover Frequency Menu Options
2-9
To adjust the bass management setting using the front-panel buttons:
second-line display to Bass Management, then press Enter.
2. Use the arrow buttons to scroll through the menu. When you find the setting
you want to use, press Enter.
4. Press the → button to change the second-line display to SW Xover Freq,

then press Enter.
5. Use the arrow buttons to scroll through the menu. When you find the setting
you want to use, press Enter.
Calibration
Prior to mixing in a multichannel environment, the monitoring system must be
calibrated to establish a balance between all channels and to ensure that all speakers
play back at the correct level relative to the listening reference position.
To properly calibrate speaker levels, use a sound pressure level (SPL) meter. A
suitable and relatively inexpensive meter is readily available from Radio Shack
(Tandy Electronics outside of North America). Relative level between channels is
more important than absolute level, so the accuracy of this meter is sufficient for
channel balancing.
The most important thing is that each of the main channels are set to the same level—
the absolute level is secondary to this. However, as a guide some examples follow:
For film work, test noise at reference level should produce an SPL of 85 dBc for each
of the main channels (left, center, right, left surround and right surround).
For television work, test noise at reference level is typically set to produce an SPL
ranging from 79 to 82 dBc for each of the main five channels. The lower reference
level for television is due to the lower average listening levels used by the consumer
(typically 70 to 75 dBc).
For music mixing, each speaker channel should be set to the same SPL (the same as
television mixing). There is no standard practice for reference levels for music
mixing. Some engineers prefer to mix louder than others do, but if the levels between
channels are correct, the overall level is not as important.
When mixing for television or music in small mixing rooms (for example, remote
recording trucks), the surround channel is generally set 2 dB lower than the front
channels. This takes into account the short distance to the surround speakers.
Experience has shown that this setting makes the sound in the home environment
very close to the sound heard by the mixer.
2-10
WARNING: Before you turn on a test noise, be sure that your playback system is set
to a moderate listening level. Adjust your amplifiers, self-powered speakers, or mixer,
not the DP570. Beware that if the playback level is very high, you may risk damaging
your speakers or possibly your hearing. The default test noise level from the DP570 is
–20 dBFS to the digital outputs (+4 dBu to the analog monitor outputs).
Digital Reference Level

This value should be set to match your studio reference level before turning on a test
noise when calibrating your speaker system. The level of the test noise, as measured
by an average-responding meter, will be changed to match the digital reference level.
This setting also properly calibrates the B-type section in the Pro Logic decoder.
To adjust the digital reference level:

second-line display to Digital Ref, then press Enter.
2. Use the arrow buttons to find the setting that matches your studio digital
reference level. When you find the correct setting, press Enter.
Measuring SPL
Before generating test noise, make sure that Master Volume is set to 0. To access
Master Volume, press Shift, then Enter. (Do not hold down Shift when pressing
Enter.) Press Esc to return to the previous menu. Master volume should remain at 0
while you set trim levels on your speakers.
If you are using the outputs from the Cat. No. 548 Analog Option Card for your
monitor system, you can make adjustments using Master Trim and Speaker
Trim in the Monitor Config menu. If you are instead using the emulator
(digital) output for your monitor system, use the procedures on page 2-13.
To access the Monitor Config menu:

1. From the Emulator Config menu, press Esc.
2. Press the → button to change the second-line display to Monitor Config

and press Enter.
Use the arrow keys to scroll among the options. Under Speaker Select, enter
Multichannel, then choose Speaker Trims to set speaker trim levels for your
multichannel system. Once you have set trim levels for your multichannel speakers, if
you have separate speaker systems connected for stereo and mono listening, return to
Speaker Select and choose each option to set levels for those speaker systems.
Speaker Select controls which speaker system is accessed when you choose
Speaker Trims.
2-11
To generate test noise to the analog outputs using the front-panel buttons:
1. From the Monitor Config menu, press the → button to change the
second-line display to Test Noise, then press Enter.
2. Press the arrow buttons to select either Pink (if your bass management
setting is none) or Filtered (if you are using any other bass management
setting), then press Enter.
The test noise cycles around the speakers: Left, Center, Right, Right
Surround, Back Surround Right, Back Surround Left, Left Surround, and
Subwoofer channels—remaining two seconds at each output before moving
onto the next.
3. Press Esc to return to Monitor Config.
4. Press the arrow buttons to change the second-line display to Speaker
Trims and press Enter.
5. Press Enter to enter an individual speaker trim adjustment menu.
When you enter an individual speaker trim adjustment menu, the test noise
remains at that speaker until you complete the adjustment and move to another
speaker, allowing you to adjust the SPL according to the following procedure.
Note: If when you begin measuring SPL the overall level needs adjustment, press
Esc to return to Monitor Config then press the arrow buttons to select
the Master Trim menu. Adjust the master trim level before adjusting the
levels for individual speakers.
To accurately measure SPL:
1. Sit in the reference listening position. Set the SPL meter to “C” weighting and
“slow” response.
2. Facing the front speakers, hold the SPL meter at chest level, with the
microphone facing up at an angle of approximately 45 degrees to the center
speaker. Keep the meter at arm’s length to prevent measuring audio that may
reflect from your body.
3. Keep the SPL meter in this position. Make sure that the meter is aimed at the
center speaker as you take readings for the left and right speakers.
4. To take the SPL readings for the left surround or right surround speakers, keep
the meter at the same angle and position as you did for the front speakers.
Turn your body 90 degrees from the center speaker towards the wall closest to
the surround speaker you are measuring. This minimizes “shadowing,” or
obscuring the meter with your body.
To make adjustments from the Speaker Trims menu, use the arrow buttons to
change the level setting for the current speaker. Press Enter to save a change in
2-12
setting, or press Esc to discard a change. Press Esc from active value reading to
return to Speaker Trims menu.
Subwoofer Calibration
Ideally, the test noise used for subwoofer calibration should be band-limited pink
noise, lowpass filtered at 120 Hz. To properly calibrate the subwoofer, a Real Time
Analyzer (RTA) is required. If an RTA is not available, you can approximate the
settings with an SPL meter.
When using an RTA, proper calibration requires setting the LFE channel signal sent
to the subwoofer, within its typical bandwidth of 25–120 Hz, 10 dB higher than the
main channels. See Figure 2-7 for an example of an RTA display of a properly
calibrated subwoofer.
LFE Channel +10 dB datum
+10 dB
Center channel 0 dB datum
25 Hz 120 Hz 2 kHz
Figure 2-7 Real Time Analyzer (RTA) Display
If an RTA is not available, setting the LFE channel higher (e.g., 89 dBc for the
subwoofer channel when the Center channel measures 85 dBc), can give an
approximate level with an SPL meter. This level varies with the quality of the meter
being used.
For future reference, if calibrating the subwoofer with an RTA, measure the level
with an SPL meter and note the meter reading for the proper calibration. Use this
measured value for quick checks of the system calibration in the future.
When you have set trim levels for all your speakers, return to the Monitor
Config menu, scroll to Test Noise, select Off, and press Enter.
Calibrating Emulator Output

If your DP570 does not include the Cat. No. 548 Analog Option Card, you need to
calibrate your speaker system using the emulator outputs.
2-13
To generate a test noise to the emulator outputs using the front-panel buttons:
second-line display to Test Noise, then press Enter.
2. Press the arrow buttons to select either Pink (if your bass management
setting is none) or Filtered (if you are using any other bass management
setting), then press Enter.
3. Follow earlier instructions for measuring SPL and calibrating the subwoofer.
4. When you have set trim levels for all your speakers, go to the Test Noise
menu, select Off, and press Enter.
2-14
Chapter 3
Applications
The DP570 can be used in many environments. In this chapter we discuss specific
examples for:
• Content creation
• Postproduction
• Live broadcast
We also provide a section on output signal information.
Each environment has unique requirements for control over the metadata authoring
and monitoring functions. Some users need full control on a regular basis; some
require full control during setup but then will want to recall presets for normal
operation. Others will only want to access presets that may be defined by someone
else. To accommodate the demands of users in different environments, the DP570
offers a variety of remote control options.
Figure 3-1 shows the control options for the DP570.
GPIO Interface
(Cat. No. 549)
Console DP570
GPIO
V Ref
Remote
One at a time
Ethernet MD 1
In 2
Laptop PC
+ MD Out DP571
Remote SW
PCM 1/2
or DP569
Inputs 3/4
5/6
future
Figure 3-1 Control Options

Model DP570 User’s Manual Applications
The GPI/O provides a simple contact closure and tally interface that activates user-
defined presets and other key features. Pin assignment information for the GPI/O is
provided in Section 4.7, Using the GPI/O Port. A standalone remote control unit, the
Cat. No. 549 GPIO Controller, is available to provide easy access to the features of
the GPI/O port. For more information on the Cat. No. 549 GPIO Controller, please
contact Dolby Laboratories.
The console interface involves a more complex serial interface that can functions as a
full remote control using Dolby’s remote protocol. It is up to console manufacturers
to implement software that can run on their platform.
Dolby provides software, DolbyRemote 570, that runs on a standard PC clone using
the serial interface. Note that this option cannot be used simultaneously with the
console interface. Details on installing and operating the remote software are
available in Chapter 7, DolbyRemote 570.
3.1 Content Creation

When creating content for television distribution, you can use the DP570 to:
• Downmix (describes a listening environment that has fewer speakers than
channels in the audio program, such as a 5.1-channel movie playing on a
stereo system)
• Set dialogue level
• Set dynamic range control
You can monitor various downmixes at any time during content production, but it is
essential that dialogue level is set before you choose dynamic range control profiles.
3.1.1 Downmixing
The DP570 allows you to monitor various downmixes before finalizing the content.
Previewing downmix conditions is essential in providing the best possible audio
quality in listening environments with fewer speaker channels. Select a downmix
mode and make adjustments to metadata (or if necessary, the source mix)
accordingly.
If your monitor system uses the Cat. No. 548 Analog Option Card outputs, you can
set up your system to include a separate set of speakers for monitoring downmixes
under different conditions. For example, you can send a stereo downmix to the left
and right speakers in your 5.1 listening environment, then send the same downmix to
a different set of stereo speakers by changing your speaker selection setting. It is a
good idea to have a low-grade alternate speaker configuration set up to monitor the
stereo and mono downmixes to make sure program content translates appropriately in
“fidelity challenged” listening environments.
3-3
Using Metadata to Improve a Downmix

One of the great advantages of the DP570 is that it allows you to monitor a downmix
as you alter specific metadata parameter settings, so you can improve a downmix
without altering your source multichannel mix.
Stereo
Select Stereo to monitor the stereo downmix of a multichannel program.
You can select a preferred stereo downmix as either a Pro Logic compatible Lt/Rt or
a simple Lo/Ro (left only, right only). If adjustment is necessary, the stereo downmix
can be optimized by adjusting Center Mix Level and Surround Mix Level for either
Lo/Ro or Lt/Rt, depending on the preferred downmix selection. For more detail on
metadata parameters, see Appendix A, Metadata.
Pro Logic
Select Pro Logic to monitor the effect of Pro Logic decoding. If adjustment is
necessary, the metadata parameters to adjust are Surround 90-degree phase shift,
Lt/Rt Center Mix Level, and Lt/Rt Surround Mix Level.
Checking Other Mixes

You can monitor the downmix for Mono, 3Stereo, Phantom Center, or EX at any
time. These downmix modes do not have associated metadata parameters; it is
advisable, however, to check these downmixes to be sure that the program content
translates appropriately to these listening environments.
3.1.2 Setting Dialogue Level

Setting the dialogue level parameter, also known as dialogue normalization or
dialnorm, is a vital element in audio content creation. Properly setting the dialogue
level parameter ensures that the level at which the consumer hears the dialogue (or
average level in programs without dialogue) matches between different programs. See
Appendix A, Metadata for a detailed explanation of the dialogue level parameter.
To set the dialogue level parameter, the first and most important step is selecting an
audio sample, or “clip,” representative of the average loudness level of the program
content. Remember that the dialogue level parameter establishes the level for normal
dialogue in the program; quieter and louder scenes tend to show higher or lower
measurements than the correct value. Using more than one clip can be worthwhile—
for instance, samples of conversation involving featured characters with different
vocal qualities. In programs without dialogue, such as a music concert, sections of
average level need to be identified.
With representative audio clips identified, you can use the DP570 to set the dialogue
level parameter. You can use either the software interface or the front-panel buttons;
for this operation we describe using the software interface first.
3-4
Note: The Measure function used in the following procedures is designed to

measure dialogue only. Programs without dialogue, such as an all-music
program, still require a careful setting of the dialogue level parameter. When
setting the parameter for such content, it is useful to compare the program to
the level of other programs. The goal is to allow the consumer to switch to
your program without having to adjust the volume control.
To measure dialogue level using the remote software:

1. Play the audio clip.
2. While the clip is playing, click Measure, next to the Dialogue Level slider.
The DP570 begins measuring the level of the audio clip. The software display
of the measured level varies widely at first, but the measurement is an average
level over time (LeqA), so the display stabilizes as the clip continues.
If the input audio level registers below –31 dBFS, the Accept button is disabled,
as those values are not valid settings for the dialogue level parameter. Below
–40 dBFS, the display reads LOW. In either case, it is best to raise the source
audio level and re-measure the selected audio clip.
3. When an adequate amount of the clip has played, click Measure to stop the
measurement.
The software displays the level of the audio clip. This level displays until you
start a new measurement.
Repeat these steps with each audio clip selected. The DP570 should return similar
values for each of the clips. If the variation between the clips is 4 dB or less, select a
value for the dialogue level parameter within that range that best indicates the average
level of the program content. At any time, to use the measurement level displayed on
the software, click Accept, and the dialogue level parameter is set at that level. To set
the dialogue level parameter manually, click and drag the Dialogue Level slider to the
setting you want.
If the DP570 measures more than a 4 dB difference in the audio clips, reconsider the
clips you have chosen, recalling that these clips should represent normal speech level
in your content.
To measure dialogue level using the front-panel interface:
1. On the main setup menu, use the arrow buttons to select Operating Mode
and press Enter.
2. Press Enter again until the screen displays;
Input –27 dB
Dialog Lev –27 dB
3-5
The first line of the display changes to display the level of the clip. The
reading does not change immediately—it may take up to 30 seconds before
the display begins to register level changes. Unlike the software procedure,
there is no start/stop function to the measurement, although changing the
selected program resets the measurement. The display changes as the level of
the clip changes.
If the input level is below –31 dBFS, an asterisk (*) appears next to the input
level value indicating that the audio level is too low to be represented by the
Dialogue Level parameter. Below –40 dBFS, the display reads Input too
low *. If the input level is higher than –1 dBFS, the display reads Input too
high *. In these cases, it is best to adjust the source audio level and re-
measure the selected audio clip.
4. Use the arrow keys to adjust the dialogue level setting, displayed on the lower
line, to the average value displayed in the measurement of your clip.
As with the remote software-based procedure, if you have more than one audio clip,
repeat these steps with the other clips. The DP570 should return similar values for
each of the clips. If the variation between clips is 4 dB or less, select a value for the
dialogue level parameter within that range that best indicates the average level of the
program content.
If the DP570 measures more than a 4 dB difference between the audio clips,
reconsider the clips used, recalling that these clips should represent the level of
normal audio in the program content.
3.1.3 Setting Dynamic Range Control

You can choose dynamic range control (DRC) profiles for RF and Line modes. Use
the emulator to monitor the effects of each profile setting on the program content and
select the profile that best suits the material in each mode. Both RF and Line modes
can be set to any of the following profiles: None, Film Standard, Film Light, Music
Standard, Music Light, and Speech. Each profile represents a pre-packaged set of
compression parameters such as ratio, attack, and release.
Note: Remember that it is essential to first set the dialogue level parameter
properly before making judgments on the correct DRC profile.
For detailed information on DRC profiles, See Appendix A, Metadata.
The Custom adjustment on the emulator allows you to simulate a consumer decoder
with the ability to vary the amount of DRC applied. This variation is to the Line mode
profile you have selected. Like all emulator controls, it does not affect the metadata or
router output streams.
3-6
3.2 Postproduction
The DP570 can be used in a variety of postproduction settings. We discuss some
examples here.
3.2.1 Surround-Compatible Postproduction Using Dolby E

Figure 3-2 shows metadata coming from three sources, the mixing console (which
controls the DP570 via serial protocol), the dedicated remote, and a DP572 used for
playback of a pre-recorded Dolby E stream.
DP571 DP572
V Ref V Ref
1/2 1/2
3/4 3/4
5/6 Out In 5/6
7/8 TC CTL REF 7/8
Vid Vid
MD MD To
PGM
Mixing
TC Console
Mixing Console A1/2 A1/2 TC
MON A3/4 A3/4

Delay Delay Delay In Delay Out
1/2 1/2 VTR 1/2 1/2
PC running DP570 DP563

DolbyRemote 570
In
V Ref
GPIO
MD 1 1/2
Remote In 2 3/4 Out
5/6
MD Out
1/2 L/R Audio
3/4 C/LFE
5/6 Ls/Rs Control (Metadata)
5.1-Channel Monitor 7/8
Lt/Rt Video Sync
R Rs
C SW
L Ls
Figure 3-2 Postproduction Using Dolby E

(5.1- and Four-Channel)
In this example, the mixing console is used to create a six-channel mix, which is then
fed to the DP571 and the DP570. The user selects dynamic range control and
downmix parameters and auditions them in various monitor modes before starting to
record the DP571 output. For playback of the recorded tape, the VTR audio outputs
are fed to a DP572. The DP572 outputs are then fed to the DP570 for monitoring.
This basic setup should work for creation and editing of Dolby E recorded media.
The user also desires to create a tape that is suitable for broadcast over standard
analog transmission as well. This requires that an Lt/Rt encoded audio mix be created
simultaneously with the 5.1-channel mix. The Lt/Rt signal is then fed to the PCM
delay inputs of the DP571 for encoding (assuming a one-frame delay is needed). In
order to do a good job of matrix encoding, the user must be able to audition the
decoded signal as well. The Pro Logic decoding mode of the emulation block can
provide this function.
3-7
3.2.2 Replacing One or More Values within a Metadata Stream

In postproduction, the DP570 lets you quickly assess key parameters to ensure that
you are sending a consistent product to your audience. Because you can make
metadata changes, you can deliver an improved product to the consumer without
altering the master mix or content in any way.
Figure 3-3 shows the flow of audio and metadata using the DP570 for audio
monitoring and parameter replacement.
1/2 1/2 1/2 1/2

3/4 3/4 3/4 3/4
5/6 5/6 5/6 5/6
DP572 7/8 7/8 DP569
DP570
MD MD In MD Out MD
5.1-Channel Monitor
R Rs
C SW
L Ls
Figure 3-3 Parameter Replacement
3.2.3 Adjusting the Dialogue Level Parameter in Postproduction

In postproduction, the dialogue level parameter should not be an issue if the content
producers have done their work well. However, changes to the dialogue level
parameter are sometimes necessary to match levels between different program
content, and the DP570 is the tool that provides this capability (see Section 3.1.2,
Setting Dialogue Level).
3.2.4 Adjusting Other Parameters

Prior to broadcast of a program, it may be appropriate to check dynamic range control
parameters. A content producer may deliver a program with no DRC profile, but if it
is an action movie set for broadcast at midnight, you may want to make DRC
available to the consumers who can choose to use it. If a program originated at a
facility with less advanced monitoring facilities, the downmix parameters may not be
maximized. Depending on the content producers and your relationship with them,
resetting these parameters could improve the ultimate delivery of the program.
3-8
3.3 Live Broadcast

In a live broadcast situation, the ability to preview metadata parameters during
broadcast is limited. However, the DP570 can be loaded with presets—for example,
“News,” “Sports,” “Music,” as well as other live events—providing the flexibility
necessary for use during set-up, rehearsals, and final broadcast.
Developing these presets, of course, can only be a product of experience, but that
experience can be passed on much more easily with the DP570. A seasoned engineer
can save presets for the live events to be produced, and a DP570 with those presets
can be sent out with a less-experienced engineer who has only to select the
appropriate preset for the event, and is then free to focus on other issues. In this
situation, the engineer at the live event can confirm the validity of the chosen
metadata by monitoring the effects with the DP570.
3-9
Chapter 4
Unique Features
The DP570 provides features not found in other devices. In this chapter, we discuss:
• Using external metadata
• Internal metadata default settings
• User presets
• Using Lt/Rt input mode
• Channel mapping
• Input router settings
• Using the GPI/O port
4.1 Using External Metadata

The DP570 has two metadata input ports. These can derive metadata values from an
external serial metadata stream. These input ports should connect to a valid metadata
source, most likely a Dolby E decoder such as the Dolby DP572.
In order to properly monitor a decoded Dolby E stream, metadata must be applied to

the digital audio. The DP570 can apply external metadata to the decoded audio to
emulate how the audio program will sound when the metadata is applied in the home
by a Dolby Digital decoder. It is also possible to go one step further and replace some
(or all) of the metadata with parameter values you define using the DP570.
In order to properly use external metadata, it is important to understand some basic

concepts regarding the nature of the metadata stream. The structure of the stream is
shown in Figure 4-1.
4-1
Model DP570 User’s Manual Unique Features
Metadata Output Frame
Program N
Program 1
Program 2
Program 3
Program 4
Program
Dolby E
Config
Sync
Program 1
channel mode
bitstrm mode
dialogue lev
surnd mode
orig bitstrm
cmixlev
Figure 4-1 Serial Metadata Frame Structure
The complete metadata frame contains information about the Dolby E stream as well
as metadata for each program in the stream. The frame rate for output metadata is set
by the received video reference signal and is locked to the beginning of the video
frame. If there is no video input, the DP570 generates a default frame based on 1,536
samples at the current audio clock rate, to match Dolby Digital frame rates. The
structure imposes some restrictions regarding how external metadata can be used; for
example, since the program configuration determines the number of programs, it
determines the number of program metadata segments.
4.1.1 Choosing the Source

The metadata source can be either internal (chosen by the user or generated as a
default by the DP570) or external (derived from the external metadata stream).
Normally, if you use external metadata, you will use the entire stream, but there may
be times when you want to alter the received value of an individual parameter or an
entire program. You control this source choice at three levels: program configuration,
program metadata, and individual parameter.
The highest-level source selection is whether to use the external program
configuration. If an external metadata stream is available, this is the likely choice.
When you select an external program configuration, the source for all metadata
parameters is initially set to the same port. The source for other parameters can be
changed to internal, however, either at the program metadata level, or by individual
parameter. An example of this configuration is a QC environment, where the operator
uses the entire metadata stream to monitor the overall audio quality.
Changing the program metadata source (an option available only when using the
DolbyRemote 570 software) selects the source for the active program only; that is, the
program you are currently monitoring. When you make a program metadata source
selection, the individual parameters for that program are initially set to the same
source. An example of this situation is shown in Example 2 on page 4-4.
4-2
You can, however, still change individual parameters. For example, at master control
or presentation, the operator passes through all metadata to the station output under
normal circumstances; if a fault occurs, however, individual parameters can be
adjusted as necessary.
This system simplifies the task of selecting the metadata source. The higher-level
choices change the lower-level source settings automatically, but the individual
parameters can always be changed without affecting other parameters.
Note: When altering external metadata, make certain that the altered values are
correct for the program. Particularly when you alter program configurations,
it is important to correctly set the number of programs and the number of
channels in each program. Monitoring with the DP570 should alert you to
any problems.
Example 1—Overriding individual parameter values

Signal and metadata flow from this example are shown in Figure 4-2.
You are using an external metadata stream. The output of the DP570 is feeding a
DP571 or DP569. You want to change the compression profile because none was
originally included. To do so:
1. Select the program you wish to change.
2. Click the Dynamic Range metadata tab on the DolbyRemote 570.
3. Change the source of the Line Mode Compression Profile from external to
internal.
You can now select one of the five compression profiles. In this case, let’s say Film
Light sounds best.
The source for this parameter stays internal until
a) You change it back to the external source, or
b) You receive a program with a different program configuration.
Digital Digital Router Digital

Output Input Output Input DP571
Signal DP572 DP570 or
Flow Metadata Metadata DP569
Metadata Out In Out Metadata In
Metadata Adjustment
Line Mode A) Select Internal for Line Line Mode
Metadata Mode Source
Flow Profile = None Profile = Film Light
B) Assign Line Mode
Profile = Film Light
Figure 4-2 Overriding Individual Parameter Values
4-3
Example 2—Adding a second program (or changing a program)

Signal and metadata flow from this example are shown in Figure 4-3.
You receive a 5.1-channel program encoded in Dolby E, and you want to create a
stereo-compatible mix for it and re-encode both onto another Dolby E master. In this
case the metadata for the second program does not yet exist, but you want to retain
the metadata from the first program. Furthermore, the program configuration from the
original stream must be changed because it indicates a single 5.1 program instead of
the 5.1 + 2 configuration you are creating.
After you create the stereo mix, you re-encode the 5.1-channel program along with
the stereo program using a DP571. To do so:
1. Select internal for the program configuration source, and choose 5.1 + 2.
2. Select external for the program metadata source for Program 1.
3. Select internal for the program metadata source for Program 2, and select the
metadata for the second program.
In Out
DP563
2
Digital 6 Digital Router 8 Digital

Output Input Output Input
DP572 DP570 DP571
5.1 Metadata Metadata 5.1+2 Metadata
Metadata Out In Out In
Metadata Adjustment
• Change Program Config
to 5.1+2 (internal source)
• Set parameters for new
two-channel program
Figure 4-3 Adding a Second Program
4.1.2 Limitations When Using External Metadata

Due to the way the metadata stream is constructed and interrelationships of various
types of metadata, there are limitations regarding how external metadata may be used.
1. Only one external port may be used at a time.

2. The metadata for program N will come from external program N. The external
stream must have a matching program number.
4-4
Due to the first limitation, once any parameter source is set to an external port, the
other external port is disabled as a choice for all parameters.
4.1.3 Troubleshooting Metadata Problems

The DP570 has several status indicators to help troubleshoot metadata-related
problems:
• The front-panel status display shows the metadata source as External if
any metadata source is set to external.
• Metadata Input indicators on both the DP570 front panel and in the
DolbyRemote 570 software provide status information. The indicators turn
green any time a valid metadata signal is present, whether or not it is being
used. They turn red only if the external port is in use and there is a problem
with the metadata signal.
• The Metadata Params submenu under either the Setup or Status
menu on the front-panel display can also be used to determine the current
source for a parameter and its current value.
Note: If the DP570 is using external metadata and there is a temporary error in the
metadata stream, the unit continues to use the last valid metadata values.
When the error clears, the DP570 resumes using the stream from the
external port.
4.2 Internal Metadata Default Settings

The DP570 automatically generates metadata settings based on the number of
channels indicated by the program configuration as shown in Table 4-1. You can, of
course, change any metadata parameter, but these are the parameters the unit sets up
to start with.
Note: Because the metadata parameters will change each time you change the
program configuration, make sure you set the proper program configuration
first, before choosing metadata parameters!
4-5
Table 4-1 Metadata Defaults
Program Channels
Metadata Parameter 5.1 4 2 1

Dialogue Level –27 –27 –27 –27
Channel Mode 3/2 3/1 2/0 1/0
LFE Channel On Off Off Off
DC Highpass Filter On On On On
Lowpass Filter On On On On
LFE Filter On Off Off Off
Surround Phase Shift On On Off Off
Surround 3 dB Attenuation On On Off Off
Line Mode Compression Film Light Film Light Film Standard Film Standard
RF Mode Compression Film Standard Film Standard Film Standard Speech
RF Overmodulation Protection Off Off Off On
Bitstream Mode Complete main Complete main Complete main Complete main
Center Mix Level –3 –3 –3 N/A
Surround Mix Level –3 –3 –3 N/A
Dolby Surround Mode Off Off On N/A
Copyright Bit Yes Yes Yes Yes
Original Bitstream Yes Yes Yes Yes
Audio Production Info No No No No
Mix Level 85 dB SPL 85 dB SPL 85 dB SPL 85 dB SPL
Room Type Not Indicated Not Indicated Not Indicated Not Indicated
Preferred Stereo Downmix Lt/Rt Lt/Rt Not Indicated Not Indicated
Lt/Rt Center Mix Level –3 –3 N/A N/A
Lt/Rt Surround Mix Level –3 –3 N/A N/A
Lo/Ro Center Mix Level –3 –3 N/A N/A
Lo/Ro Surround Mix Level –3 –3 N/A N/A
Dolby Surround EX Mode Not Indicated N/A N/A N/A
Converter Type Standard Standard Standard Standard
Data Rate Not Indicated Not Indicated Not Indicated Not Indicated
4.3 User Presets

You can save system settings in up to 32 separate presets for quick recall. Since the
DP570 combines both metadata authoring as well as decoder emulation functions,
you may only want to store and recall a subset of the entire system settings for quick
recall. The DP570 lets you store a subset of system settings as emulator-only,
authoring-only, or combinations that recall both emulator and authoring settings at
once.
4-6
Authoring presets include the Dolby E program configuration, all metadata

parameters for each program, and the source for each parameter. Emulator presets
include the DRC and downmix modes, speaker-system choice, bass management,
router settings, and LFE monitor mode. The third type, all, includes both authoring
and emulator settings.
4.3.1 Emulator-Only
You can save a listening environment setup for quick recall easily with the DP570.
Once you select the listening parameters, choose a preset number under User Presets,
and under Type choose Emulator.
Emulator presets display an E after the preset number, so you will be able to
recognize them easily as emulator-only presets.
Emulator presets are particularly useful for checking specific combinations of

downmix and compression mode, perhaps on a different speaker output. For example,
you can audition current metadata settings for a 5.1-channel program in Full mode(no
downmix) with no compression (the default for the Custom selection), then check the
mono downmix in RF mode on the mono speaker output in one click without altering
the metadata settings.
4.3.2 Authoring-Only
You can also save authoring-only settings as a preset. By doing so, you can test
certain combinations of metadata settings you find useful without altering your
emulator settings; alternatively, you can save settings for different program types,
series, episodes, or even stadiums that you work in. Recalling authoring presets that
apply metadata combinations you know well can save you time. Storing authoring
presets lets you compare these combinations without affecting your emulation
settings.
Authoring presets display an A after the preset number to allow easy recognition, and
so you can name the preset according to content.
4.3.3 All
Just as you may find that there are certain combinations of authoring settings that you
use frequently, and certain emulator configurations that you want to use to check
different downmix conditions, you may discover that you also use certain
combinations of authoring and emulator settings frequently. To save a combination of
authoring and emulator settings as a preset, select All under Type when saving the
preset.
Presets that include both authoring and emulator settings do not display any letter
after the preset number on the display.
4-7
4.3.4 Using Different Preset Types to Audition Settings

If you are assigning metadata to a program, the different preset types can be used in
sequence to speed your process.
Example
You set the emulator to Full mode (no downmix) with no compression (the default for
the Custom selection). You then audition a few authoring presets until you find the
combination that suits the program best. Next, you switch among the emulator presets
to make sure the metadata you have selected works in a variety of downmix settings.
Now you know you have settings that maximize the mixing capabilities for all your
potential listeners.
By using presets, you both save time and increase the accuracy of your checking,
since there are multiple variables in both the authoring and emulator sections.
4.4 Using Lt/Rt Input Mode

The DP570 provides a separate input (Lt/Rt) for a signal encoded in Dolby Surround.
When you activate the Lt/Rt input mode, the emulator is fed only by the Lt/Rt input,
and the DP570 sends a Pro Logic decoded signal to your monitor system. You cannot
alter settings for the signal from the Lt/Rt input, but you can use the input to ensure
that an Lt/Rt mix is performing as expected.
Caution: Changes to metadata parameters may still be made while in Lt/Rt input
mode, but you cannot hear the effect of these changes, because the
emulator is dedicated to Lt/Rt input signal. Therefore, you should only
change metadata values while not in Lt/Rt input mode.
For an example of monitoring a Dolby Surround program while creating metadata for
a 5.1-channel program, see Section 3.2.1, Surround-Compatible Postproduction Using
Dolby E.
4-8
4.5 Channel Mapping

Table 4-2 shows how the DP570 routes input channels to emulator output channels.
Channel mapping changes automatically according to the program configuration, and
reflects how the channels will be connected to a Dolby Digital encoder.
The DP570 input router enables you to reroute input channels to conform to the
automatically assigned channel mapping. See Section 4.6, Input Router Settings, for
details.
Table 4-2 Channel Mapping according to Program Configuration

The program number (1–8) identifies the individual programs associated with each channel.
So, the entry 2C/2S means “Program 2, Center channel/Program 2, Surround channel.”
Program
1/2 3/4 5/6 7/8
Configuration
5.1+2 1L/1R 1C/1LFE 1Ls/1Rs 2L/2R
5.1+2x1 1L/1R 1C/1LFE 1Ls/1Rs 2C/3C
4+4 1L/1R 1C/1S 2C/2S 2L/2R
4+2x2 1L/1R 1C/1S 3L/3R 2L/2R
4+2+2x1 1L/1R 1C/1S 3C/4C 2L/2R
4+4x1 1L/1R 1C/1S 4C/5C 2C/3C
4x2 1L/1R 3L/3R 4L/4R 2L/2R
3x2+2x1 1L/1R 3L/3R 4C/5C 2L/2R
2x2+4x1 1L/1R 3C/4C 5C/6C 2L/2R
2+6x1 1L/1R 4C/5C 6C/7C 2C/3C
8x1 1C/2C 3C/4C 5C/6C 7C/8C
5.1 1L/1R 1C/1LFE 1Ls/1Rs None
4+2 1L/1R 1C/1S None 2L/2R
4+2x1 1L/1R 1C/1S None 2C/3C
3x2 1L/1R 3L/3R None 2L/2R
2x2+2x1 1L/1R 3C/4C None 2L/2R
2+4x1 1L/1R 4C/5C None 2C/3C
6x1 1C/2C 3C/4C 5C/6C None
4 1L/1R 1C/1S None None
2+2 1L/1R None None 2L/2R
2+2x1 1L/1R None None 2C/3C
4x1 1C/2C 3C/4C None None
Note that the only channel mode supported in four-channel channel-mapping settings
is 3/1. If you wish to use 2/2 channel mode, we recommend setting the program
configuration to 5.1 and muting the unnecessary channels.
4-9
4.6 Input Router Settings

The DP570 input router enables you to reroute input channels to conform to the
automatically assigned channel mapping. The input router is active even when
Emulator Bypass is enabled.
The Setup Router window in the DolbyRemote 570 shows the current router settings
as well as how each output channel will be identified given the current program
configuration. The window also lets you change the current input assignments.
You can save and name input router settings, or use the factory presets. The factory
presets, shown in Table 4-3, are designed to match existing conventions for
multichannel media channel order. Preset 1 works with a tape conforming to SMPTE
Standards 320M and 320M-A. Preset 3 works with a tape conforming to SMPTE
Standard 320M-B.
Table 4-3 Factory Preset Input Assignments
Router Output
Digital
Input
Preset 1 Preset 2 Preset 3 Preset 4
1 1 1 1 1
2 2 3 5 2
3 3 2 3 5
4 4 6 6 6
5 5 5 2 3
6 6 4 4 4
7 7 7 7 7
8 8 8 8 8
4.7 Using the GPI/O Port

The GPI/O port is a female 37-pin D-connector. You can use this port to connect the
DP570 to your studio console or existing control equipment. A standalone remote
control unit, the Cat. No. 549 GPIO Controller, is available to provide easy access to
the features of the GPI/O port. For more information on the Cat. No. 549 GPIO
Controller, please contact Dolby Laboratories.
See Figure 4-4 to identify pin numbers.
19 1
37 20
GP I/O
Figure 4-4 GPI/O Pin Numbers
4-10
Output pins 4 and 7–19 are user-defined, as shown in Table 4-4.
Table 4-4 GPI/O Pin Assignments
Pin Function Pin Function
1 +5 V (150 mA)
2 Fault output 20 Encoder A input
3 Error output 21 Encoder B input
4 User-defined output 22 Encoder present input
5 Solo tally output 23 User-defined input
6 Solo control input 24 User-defined input
7 User-defined output 25 User-defined input
19 User-defined output 37 Digital ground
By assigning specific functions to the user-definable pins, you can provide simple
control of, or status display from, the DP570. Many functions also allow defining the
type and polarity of the input or output logic, thereby allowing you to adapt the
DP570 to your existing environment.
Table 4-5 provides a description for each function that can be assigned to GPO pins.
Some functions have restrictions on the polarity or trigger type. If so, this is indicated
in Table 4-5.
In Table 4-5, the Active State column indicates the DP570 state that causes the pin to
be forced to the logic level indicated, if it is level-triggered.
Example:
Emulator Bypass: Polarity = High

Trigger = Level
Active State = Bypass
4-11
In this example, when the DP570 enters Emulator Bypass mode the GPO pin goes
high. When the unit is no longer in Bypass mode, the pin goes to the low state.
Table 4-5 Functions available for GPO Pin Assignment
Function Polarity Trigger Active Description

State
V Ref Either Either V Ref No signal or invalid signal.

error (Check for proper termination.)
Metadata In 1 Either Either Metadata Invalid signal while unit is in
error external metadata mode.
Metadata In 2 Either Either Metadata Invalid signal while unit is in
error external metadata mode.
Emulator Bypass Either Either Bypass Indicates Bypass is active.
Delay LED Either Either On Not yet implemented.
Lt/Rt Input Either Either Enabled Indicates Lt/Rt input is active.
Dim/mute* Either Either Enabled Indicates Dim Gain setting is
active.
Surround EX Either Either EX on Indicates Surround EX is active.
Pro Logic Either Either Pro Logic Indicates Pro Logic is active.
on
L Speaker Mute* Either Either Mute Indicates Mute is active.
R Speaker Mute* Either Either Mute Indicates Mute is active.
C Speaker Mute* Either Either Mute Indicates Mute is active.
SW Speaker Mute* Either Either Mute Indicates Mute is active.
Ls Speaker Mute* Either Either Mute Indicates Mute is active.
Rs Speaker Mute* Either Either Mute Indicates Mute is active.
Bs Speaker Mute* Either Either Mute Indicates Mute is active.
Speaker Select* Either Either Speaker Indicates which speaker is
(Multi, Stereo, Mono) selected selected.
Program Select (1–8) Either Either Enabled Indicates which program is
selected.
Preset Select (1–32) Either Either Enabled Indicates which preset is
selected.
Mixdown Mode Either Either Enabled Indicates which mode is selected.
(Full, Stereo, Mono,
Phant, 3-Stereo)
Dynamic Range Either Either Enabled Indicates which compression
Control Mode mode is selected.
(Line, RF, Custom)
Reference Level* Either Level 0 dB Indicates Master Volume = 0 dB.
*Available only in units with the Cat. No. 548 Analog Option Card.
4-12
Table 4-6 shows assigned GPO pin functions.
Table 4-6 Assigned GPO Pins (not user-definable)
Active
Function Polarity Trigger Pin
State
Error High Level Error 3

Fault Low Level Fault 2
Solo Mode* High Level Enabled 5
Input pins 23–36 are user-defined as shown in Table 4-7. See Figure 4-4 to identify
pin numbers.
Table 4-7 provides a description for functions that can be assigned to GPI pins. Some
functions have restrictions on the polarity or trigger type. If so, this is indicated in
Table 4-7. GPI functions that are mutually exclusive are restricted to edge-triggering.
In Table 4-7, the Active State column indicates the DP570 state that results when the
pin is forced to the logic level indicated, if it is level-triggered.
Example:
Emulator Bypass: Polarity = High

Trigger = Level
Active State = Bypass
In this example, when the pin is held high (for at least 100 ms), the unit is forced into
the active state for this function, Bypass.
4-13
Table 4-7 Functions Available for GPI Pin Assignment
Function Polarity Trigger Active State Description
Emulator Bypass Either Either Bypass Activates emulator bypass

Router Delay Either Either One frame Not implemented
Lt/Rt Input Either Either Enabled Activates Lt/Rt input
Dim/Mute* Either Either Enabled Activates Dim Gain setting
Surround EX on/off Either Edge Activates Surround EX mode
Pro Logic on/off Either Edge Activates Pro Logic mode
L Speaker Mute* Either Either Mute Mutes L speaker
R Speaker Mute* Either Either Mute Mutes R speaker
C Speaker Mute* Either Either Mute Mutes C speaker
SW Speaker Mute* Either Either Mute Mutes SW speaker
Ls Speaker Mute* Either Either Mute Mutes Ls speaker
Rs Speaker Mute* Either Either Mute Mutes Rs speaker
Bs Speaker Mute* Either Either Mute Mutes Bs speaker
Speaker Select* Either Edge Selects speaker system assigned
(Multi, Stereo, Mono) to pin
Program Select (1–8) Either Edge Selects program assigned to pin
Preset Select Group Either Edge Selects preset
(1–32)
Mixdown Mode Either Edge Selects mixdown mode assigned
(Full, Stereo, Mono, to pin
Phant, 3-Stereo)
Dynamic Range Either Edge Selects DRC profile emulation
Control assigned to pin
(Line, RF, Custom)
Reference Level* Either Edge Forces Master Volume to 0 dB
Table 4-8 shows assigned GPI pin functions. These functions are available only in
units with the Cat. No. 548 Analog Option Card.
Table 4-8 Assigned GPI Pins (not user-definable)

These pins are active only in units with the Cat. No. 548 Analog Option Card.
Function Polarity Trigger Active State Pin
Shaft Encoder A High Edge 20

Shaft Encoder B High Edge 21
Shaft Encoder Present Low Level Encoder Present 22
Solo Control In High Level Solo Mode Enabled 6
4-14
4.7.1 Using an External Shaft Encoder to Control Master Volume

The master volume function is available on DP570s that have the Cat. No. 548
Analog Option Card installed. The GPI/O port has three pins that allow control of
master volume remotely by using a shaft encoder. The interface is detailed in Table
4-9 and Table 4-10.
Table 4-9 Shaft Encoder Interface Description
Signal Pin Description

Shaft 1 21 Shaft encoder input. Two square waves in a quadrature phase
relationship. Shaft 0 leads Shaft 1 by 90°: volume increases.
Shaft 0 20
Shaft 0 lags by 90°: volume decreases.
Shaft Ground this pin to activate control via shaft encoder. Pulled high
22
Present internally (10 k to +5 V).
Table 4-10 Shaft Encoder Interface Electrical Characteristics
Characteristic Min Max

VT+
1.2 V 2.1 V
Positive-going input threshold voltage
VT-
0.5 V 1.4 V
Negative-going input threshold voltage
VH
0.4 V 1.5 V
Hysteresis voltage
4.7.2 Solo Input Mode

On units with the Cat. No. 548 Analog Option Card installed, the DP570 provides a
two-channel analog input that can be routed to the analog outputs. This input is called
Solo because the feature was inspired by the need to provide a way to route a standard
signal from a mixer (such as the Solo Bus output) into the monitor chain. The feature
can also be useful as a general-purpose analog bypass.
Solo input mode bypasses the digital audio inputs, and only the solo inputs route to
the Left and Right outputs. If the Mono speaker output is selected, the input signals
are summed and fed to the Mono output.
The Solo input is available only by driving the Solo Control line on the GPI/O port.
The Solo control line (pin 6) is level-triggered and is active in the high state. The
status of the Solo input displays on the front-panel Solo LED and is indicated on the
Solo Tally line (pin 5) on the GPI/O port.
4-15
Chapter 5
Front-Panel Interface
The front panel includes a menu LCD that shows the current function mode, and
buttons that enable function selection, navigation, and editing.
The menu system has two independent structures: setup and status. The setup menu
lets you configure the DP570 to suit environmental and program requirements, and
the status menu displays information regarding the operating status. A complete menu
tree is available in Appendix B, Front-Panel Menu Trees.
Navigation Buttons
The eight buttons closest to the display window control navigation through the menus
and selection of parameters within menu screens.
Remote Delete Insert Status
Contrast Volume Bypass
Figure 5-1 Front-Panel Navigation Buttons
To select the function listed above or below a button, first press Shift, then the
associated button. For example, to select Remote, press Shift, ←. Do not hold down
Shift while pressing the second button.
Insert and Delete have no impact except in text entry menus. For details on text
entry, see Section 5.2.2, Entering Text.
5.1 Hot Button Menus

By pressing certain button combinations on the front panel, you can access the
following menus:
• Contrast Adjust
• Master Volume
Any adjustment you make to these controls takes effect immediately.
5-1
Model DP570 User’s Manual Front-Panel Interface
Contrast Adjust
Press Shift, ↓ to access the contrast control.
Use the arrow buttons to adjust the contrast on the LCD. Press Enter or Esc to return
to the previous menu.
Master Volume
Press Shift, Enter to access the master volume control.
Use the arrow buttons to adjust the volume. Master volume affects only the analog
output levels. Press Enter to keep the current value and return to the previous menu,
or press Esc to restore the initial value and return to the previous menu.
5.2 The Setup Menu

To navigate the setup menu, use the front-panel navigation buttons as shown in Table
5-1.
Table 5-1 Navigation Button Functions
Command Result
← or ↑ Displays the previous menu item available on line 2 of the display.

↓ or → Displays the next menu item available on line 2 of the display.
Enters the menu item on line 2 of the display; changes function
Enter
status and menu display accordingly.
Displays the next higher menu level. If you have changed the
Esc display from the current parameter value without pressing Enter,
returns display to current parameter value.
These commands and results remain constant throughout the setup menu except
during text entry. For details on text entry, see Section 5.2.2, Entering Text.
At any time, the commands in Table 5-2 exit the setup menu.
Table 5-2 Commands that Exit the Setup Menu
Command Result
Status Displays current status menu.

Remote Engages the remote control and displays the current status menu.
5-2
To return to the setup menu, press Setup. If you engage the remote, to use the front-
panel status menu you must first disengage the remote by pressing Shift, ←, then
Setup.
5.2.1 Selecting Parameters

When line 2 of the display includes a flashing cursor, the parameter displayed on that
line is not active. Pressing Enter activates that parameter. Pressing Esc when the
flashing cursor displays returns line 2 of the display to the active parameter for that
menu.
Example:
Lt/Rt Input
Enable \ with flashing cursor
Press Enter to activate Lt/Rt Input. Press Esc to return the display to the active status:
Lt/Rt Input
Disable without cursor
If you press Enter from the active status display, there is no change. If you press Esc,
the next higher menu level displays:
Operating Mode
Lt/Rt Input
5.2.2 Entering Text

In certain situations you will be prompted to enter text. In the text entry window,
Enter Name
PRESET 6
the first line prompts you to enter text. The second line displays the current text for
the parameter or, if no text is yet defined, a default text string. An underline cursor
appears under the first character in the string. Enter text by using the navigation
buttons as described earlier in the Navigation Buttons section of this chapter.
Note: Do not use more than 12 characters, including spaces, for a preset name.
Button functions in text entry mode are described in Table 5-3.
5-3
Table 5-3 Navigation in Text Entry Menu
Command Result
← or → Moves the cursor to the left or right.

↑ Displays the previous character in the character set.
↓ Displays the next character in the character set.
Saves the text on line 2 temporarily, pending confirmation.
Enter
Changes display to confirmation dialog.
Returns text on line 2 to initial display. If text is unmodified,
Esc
displays the next higher menu level.
Places a blank space at the cursor location. If there are characters to
Insert
the right of the cursor, moves all characters one space to the right.
Delete Deletes the character at the cursor location.
Remote Engages the remote control and displays the main status menu.
When you press Enter, a confirmation dialog displays:
Save Preset
ENTER=Yes ESC=No
Enter completes your text entry. Esc aborts the text entry.
5.3 Preset/Program Buttons

The center group of buttons allows you to quickly select existing presets and to
choose among programs available. The three Compression Mode buttons are
described in the next section.
Figure 5-2 Preset and Program Buttons
To select a preset, press the Preset button so that it is illuminated, then button 1, 2, 3,
or 4. To select presets 5–32, use the DolbyRemote 570 software interface or the menu
display. The Preset button stays lit when in preset selection mode.
To select a program, press the Preset button if it is illuminated. When the Preset
button is not illuminated, press button 1, 2, 3, or 4 to select a program. For example,
5-4
in the program configuration 5.1+2×1, program 1 is 5.1, programs 2 and 3 are each
mono, and program 4 is not available. In configurations with more than four
programs available, use the menu display or the remote software to select programs
5–8. Table 4-2 shows a complete list of program configurations.
5.4 Listening Mode Selection Buttons

The front panel allows one-touch access to a range of listening mode options. All the
listening mode options apply the active metadata settings to your chosen listening
environment emulation. The DP570 enables you to monitor any listening mode while
making adjustments to metadata settings. Listening mode selections have no effect on
metadata settings, they simply allow you to choose the context in which you evaluate
those settings.
Figure 5-2 shows the Compression Mode buttons:
• RF. Applies the active RF Mode dynamic range control (DRC) settings.
• Line. Applies the active Line Mode settings.
• Custom. Allows you to apply variable degrees of the Line Mode DRC profile.
The amount of variation is controllable by using the DolbyRemote 570
software, or by holding down the custom key until the appropriate menu
appears.
Only one compression mode at a time is active. Selecting one mode disables the
others. Pressing the button for the active mode disables that mode and turns DRC off.
The setting for dialogue level remains active at all times.
Figure 5-3 shows the rest of the listening mode selection buttons. If you have selected
a speaker output other than multichannel, some selections are not available.
Input
Full Pro Logic EX Activity
3 Stereo Phant Stereo Mono
Figure 5-3 Listening Mode Selection Buttons
• Full. Sends all input channels to output channels without downmixing. For
example, a 5.1 program has six output channels, a stereo program two.
• Pro Logic. Activates Pro Logic decoding. This is possible in all listening modes
except for Surround EX.
• EX. Activates Surround EX decoding. This is only possible when monitoring a
program with two surround channels.
5-5
• 3 Stereo. Downmixes to left, center, and right speakers.

• Phant. Mixes center channel to left and right speakers.
• Stereo. Downmixes all input channels to left and right speakers.
• Mono. Downmixes to center channel only.
The Input Activity button is described in the next section.
5.5 LED Indicators

LED indicators at the top of the front panel provide information about the signal input
and output. Indicators shown in Figure 5-4 display basic status information.
Figure 5-4 Basic LED Indicators
Basic LED indicator definitions:
• Delay Green: Router or metadata output is delayed.

Off: No delay.
• Lt/Rt Input Green: Lt/Rt input mode is active.
Off: Inactive.
• Solo Green: Solo input function is active.
Off: Inactive.
• Metadata There are separate indicators for inputs 1 and 2.
Input Green: Signal is locked and valid.
Red: Invalid signal while unit is in external metadata mode.
Off: Unit is not in external metadata mode.
• Remote Green: Remote is active.
Red: Communication problem.
Off: Remote is not activated.
• V Ref Green: Signal is locked.
Red: No signal or invalid signal. (Check for proper termination.)
Note: The DP570 does not require a valid video reference signal in order to
produce an output metadata stream. If there is no valid video reference, the
output metadata frame rate locks to the audio sample rate at a period of 1536
audio samples, the equivalent to the frame rate of Dolby Digital (AC-3).
5-6
• Fault Red: A hardware-level fault.

Off: No fault.
• Error Red: Error condition due to an input signal failure; suggests that
the output is invalid (for example, loss of lock on required digital
audio inputs, loss of lock on V Ref input, or loss of lock or invalid
metadata input).
Off: No errors.
Indicators in Figure 5-5 show channel activity for either input or output, depending on
whether you press the Input Activity button.
Channel Activity
L R C LFE Ls Rs Bs SW Output
1 2 3 4 5 6 7 8 Input
Lt Rt
Figure 5-5 Channel Activity LED Indicators
Channel Activity LED indicators are detailed in Table 5-4.
Table 5-4 Channel Activity LED Display Definitions
LED Display Signal Status
YELLOW Peak signal level < –60 dBFS

GREEN –60 dBFS ≤ peak signal level < –0.1 dBFS
RED –0.1 dBFS ≤ peak signal level
(Input Activity only) Channel enabled but not
Blinking YELLOW
locked
Input: Channel disabled by Dolby E program
config
OFF
Output: Channel disabled by downmix, speaker
selection, or Channel Mode parameter setting
5-7
Chapter 6
Front-Panel Menus
This chapter provides information about terms and selections in the front-panel LCD
window.
6.1 Setup Menu

Options in the top menu level are:
• Program Select
• User Presets
• Operating Mode
• Program Config
• Metadata Params
• Configuration
• System Settings
6.1.1 Program Select

In this menu you can select among programs available in the current setup. For
example, a 4+2+2×1 program configuration includes four separate programs:
Program 1 is four-channel, Program 2 is two-channel, and Program 3 and Program 4
are one-channel. For a complete list of program configurations, see Table 4-2.
6.1.2 User Presets

The DP570 has the capacity to save and recall 32 presets. When the DP570 is shipped
from the factory, all the presets are occupied by the default configuration.
Creating and Saving Custom Presets

To create and save a preset, simply alter as many parameters as you wish from an
existing configuration, then save and name your preset.
If you are saving a configuration with multiple programs, check the parameter
settings for each program separately, as the programs you do not alter save the
parameter settings from the previous configuration.
6-1
Model DP570 User’s Manual Front-Panel Menus
You can save three different types of presets. Authoring parameter presets include the
Dolby E program configuration, all metadata parameters for each program, the
external program configuration, and program and parameter source information for
each program. Emulator parameter presets include the DRC and downmix modes,
speaker-system choice, bass management, router settings, and LFE mode. The third
type, all, includes both authoring and emulator settings.
To save a preset using the front-panel interface:

1. Press Setup, then Esc to view the top-level Setup menu.
2. Press the → button to change the second-line display to User Presets and
press Enter.
3. Press the → button to change the second-line display to Save Preset and
press Enter.
4. Use the arrow keys to select the preset number (01-32) you want to use to
save the current parameters.
5. Use the arrow keys to select All, Authoring, or Emulator, then press
Enter.
6. Enter the preset name using the commands in Table 5-3.
6.1.3 Operating Mode

In this menu you can set the dialogue level, enable and disable the Lt/Rt Input and
Emulator Bypass modes by entering the available submenus. For more information on
setting the dialogue level, see Section 3.1.2, Setting Dialogue Level, and Appendix A,
Metadata.
Lt/Rt Input Mode

When you enable Lt/Rt input, the Lt/Rt Input LED is illuminated. In this mode,
metadata is not used, but you can monitor the Lt/Rt signal or the Pro Logic decoded
signal and check downmixes. Available downmix options are shown in Table 6-1.
Table 6-1 Lt/Rt Downmix Options
Listening Mode Mix Output
Full Pro Logic decode to L, C, R, and S

Stereo Mix S and C to L and R
Mono Mix all channels to C
3 Stereo Mix Surround to L and R
Phantom Center Mix Center to L and R
6-2
Emulator Bypass
When you enable Emulator Bypass, the front-panel Esc button is illuminated. In this
mode, the only settings that affect the output are the router settings. Monitoring
options are limited to program selection. If you are using the Lt/Rt input, that signal is
sent, without decoding, to the Left and Right emulator outputs. Bass Management
remains active while the unit is in Emulator Bypass.
6.1.4 Program Config

This menu lets you choose any of the possible program configurations. For a
complete list of program configurations, see Table 4-2. If you choose an external
source for the program configuration, that source provides the default value for all
metadata parameters.
6.1.5 Metadata Params

This menu includes 25 parameter selection menus. Press Enter to view or change a
parameter’s setting. Each initially displays the current setting. Scroll through the
options on line 2 of the display to view other settings available for the parameter
displayed. Note that you can view or change metadata values for the current program
only.
Table 6-2 provides a basic definition for each of the metadata parameters available,
listed by the front-panel display for each parameter. See Appendix A, Metadata for
more detailed information about metadata.
6-3
Table 6-2 Metadata Params Submenus
LCD Parameter Description
Controls dialogue level setting. See Section 3.1.2, Setting Dialogue

Dialogue Lev
Level, and Appendix A, Metadata, for detail.
Designates the number of active channels. The first number is the
Channel Mode number of front channels, the second the rear channels. Restricted by
the number of channels available in the current program.
Indicates whether LFE Channel is present. Available only in channel
LFE Channel
modes 3/2, 3/1, 3/0, 2/2, and 2/1.
Bitstrm Mode Describes the audio service carried in the bitstream.
Line Mode Pro Designates the Dynamic Range Control profile used in Line mode
RF Mode Pro Designates the Dynamic Range Control profile used in RF mode
If enabled, protects against overmodulation when a decoded signal is
RF Ov Protect
subsequently modulated onto an RF carrier.
Indicates whether a two-channel encoded bitstream contains a Dolby
Dolby Srnd
Surround (Lt/Rt) program and requires Pro Logic decoding.
Indicates whether the Mixing Level and Room Type parameter settings
Audio Prod Info
are carried in the bitstream.
Indicates absolute acoustic SPL of main dialogue channel during final
Mixing Level
mixing session. Informational only.
Indicates size and calibration of the mixing room used for the final
Room Type
mixing session. Informational only.
Indicates whether the encoded bitstream is copyright protected.
Copyright
Informational only.
Indicates whether the encoded Dolby Digital bitstream is the master
Original Bitstrm
version. Informational only.
Designates preference for Lt/Rt or Lo/Ro. Indicates if set by external
Pref Downmix
input.
When the stereo downmix is Lt/Rt, designates downmix level for the
Lt/Rt C Dwnmix
center channel.
When the stereo downmix is Lt/Rt, designates downmix level for
Lt/Rt S Dwnmix
surround channels.
*When the stereo downmix is Lo/Ro, designates downmix level for the
Lo/Ro C Dwnmx
center channel.
*When the stereo downmix is Lo/Ro, designates downmix level for
Lo/Ro S Dwnmx
surround channels.
Dolby Srnd EX Identifies if program is Surround EX encoded.
A/D Conv Type Identifies the setting for type of A/D converter. Informational only.
*Lo/Ro downmix settings control the values for Center Downmix and Surround Downmix. The active
Metadata Params status menu displays the derived values.
6-4
LCD Parameter Description
Determines if a DC-blocking 3 Hz highpass filter is applied before

DC Filter
Dolby Digital encoding.
Determines if a lowpass filter is applied to the main input channels
Lowpass Filt
before Dolby Digital encoding.
Determines if a 120 Hz lowpass filter is applied to the LFE channel
LFE Filter
before Dolby Digital encoding.
Determines if the surround channels are attenuated by 3 dB before
Srnd 3dB Attn
encoding.
Determines if a 90 degree phase shift is applied to surround channels.
Srnd Ph Shift This is necessary to create an Lt/Rt downmix that can be Pro Logic
decoded to L, C, R, S.
6.1.6 Configuration
Configuration includes three submenus:
• Emulator config
• Router config
• Monitor config
Note: To properly configure your monitoring system using the Monitor Config or
Emulator Config menu, follow the procedure in Section 2.4.2, Setting Up
Monitors.
Emulator config
Emulator config settings affect both analog monitor and emulator outputs unless
otherwise noted in Table 6-3.
6-5
Table 6-3 Emulator Config Submenus
Display Select second-line parameter to:

Test Noise Select type or disable.
Center Delay Apply a value between –3 and +5 ms.
Surround Delay Apply a value between 0 and 50 ms.
When in Pro Logic mixdown mode, apply an
Pro Logic Delay additional delay value between 10 and 100 ms for
surround channels.
Bass Management Select a mode or disable.
Select the crossover frequency for the subwoofer
SW Xover Freq
channel.
Select setting for use of LFE. Auto Select is
LFE Monitor Mode
adequate unless you have specific other needs.
Select the number of speakers available for back
Back Surround
surround use.
Turn on or off whether the emulation setting is
Sticky Settings
remembered for each program.
Turn on or off the effect of Dolby Digital Extended
Extended BSI Params BSI parameters on the monitor output. Does not
affect the metadata output stream.
Select system digital reference level for test noise
Digital Ref
and B-type decoder.
Router Config
Router configurations set the output of each audio channel for the Router Out jacks.
Up to four complete router output settings can be saved in presets.
Table 6-4 Router Config Submenus
Display Use Menu to:
Choose audio input channel assignments

Router (1–8)
for each router output channel.
Recall saved presets, and name and save
Router Presets new presets. You can store up to four
router configurations as presets.
Monitor config
Monitor configuration settings only operate if the Cat. No. 548 Analog Option Card is
installed. Monitor settings adjust speaker outputs and affect your listening
environment, but have no effect on metadata output. Available trim level settings for
both master trim and individual speakers range from +6 to –20 dB. For master trim,
the increments are 0.5 dB; for individual speakers, 0.125 dB.
6-6
Table 6-5 Monitor Config Submenus
Display Use parameter to:
Set the master trim level for the current

Master Trim
speaker outputs.
Set an alternate overall speaker volume level
to be available at one touch on DolbyRemote
Dim Gain
or GPI/O interface. Set to off if you want
that function to mute the speakers.
Choose speaker system: Multichannel, Stereo,
Speaker Select
or Mono.
Set individual speaker trim levels. First
Speaker Trims
choose a speaker, then set its level.
Choose type of test noise, or set to off to
Test Noise
cancel test noise.
6.1.7 System Settings

This menu gives you access to submenus controlling the setup for communication
with other devices, and for upgrading software.
The submenus are:

• Unit Name
• Communications
• GPO Setup
• GPI Setup
Unit Name
Enter any name you wish for your DP570 using the commands in Table 5-3. The unit
name can include any combination of characters and spaces up to 16 characters long
Communications
Communications includes a submenu for Remote Setup.
The Remote Setup submenu lets you set the baud rate and the unit address. These
settings must match the settings on the Open Device window in the DolbyRemote
570 software for successful communication between the remote software and the
DP570.
Setting the Unit Address

The unit address is four characters long. The first character is limited to the numbers
8–F, and the other characters are restricted to 0–F.
6-7
Note: In the Communications menu, pressing Enter saves the current value
without any confirmation dialog.
GPO Setup
For details on the GPI/O port functions, see Section 4.7, Using the GPI/O Port.
Output pins 4 and 7–19 are user-defined, as shown in Table 4-4. See Figure 4-4 to
identify pin numbers.
To define a function for an output pin, enter the GPO Setup menu, use the arrow
buttons to select the pin number you wish to define, and press Enter. Three submenus
are available: Trigger, Polarity, and Function. Trigger defines the type of
signal the pin produces and can be set to Level or Edge. If set to Level, the pin
produces a constant level, if set to Edge, the pin produces a pulse of about 200 ms
duration (185 ms minimum). Polarity can be set to Positive/High or
Negative/Low. Positive/Negative refers to edge-triggered signals. High/Low is for
level-triggered signals.
The Function menu lets you assign a function to the pin you have selected. Table
4-5 provides a description for each function that can be assigned to GPO pins.
GPI Setup
Input pins 23–36 are user-defined as shown in Table 4-4. See Figure 4-4 to identify
pin numbers.
To define a function for an input pin, enter the GPI Setup menu, use the arrow
buttons to select the pin number you wish to define, and press Enter. Three submenus
are available: Trigger, Polarity, and Function. Trigger defines the type of
signal the pin requires and can be set to Level or Edge. If set to Level, the pin is
triggered by level, if set to Edge, the pin is edge-triggered and requires a pulse of
100 ms minimum duration. Polarity can be set to Positive/High or
Negative/Low. Positive/Negative refers to edge-triggered signals. High/Low is for
level-triggered signals.
The Function menu lets you assign a function to the pin you have selected. Table
4-7 provides a description for functions that can be assigned to GPI pins.
6-8
6.2 Status Menu

The main Status menu appears when you turn the power on, when you press the
Status button combination (Shift, Setup), and when you activate the remote control.
At power-up, the status returns to the active configuration at the preceding power-
down.
Example:
5.1+2x1 Internal
Prog 1 3/2L 27
The top line shows the current program configuration (5.1+2×1) and the metadata
source (Internal). The bottom line shows the active program (Prog 1), channel
mode (3/2), LFE mode (L indicates LFE is on, blank indicates LFE is off), and the
dialogue level value (27). If Lt/Rt input or Solo mode is enabled, the bottom line
displays Lt/Rt Input Mode or Solo Mode.
In the status menu, you can view more information about the current program by
using the arrow buttons. Informational menus display for Metadata Params,
Preset Status, Video Ref, Audio Input, Delay Status, Error
Status, and Firmware Version. In categories where more menus are available,
the second line displays ENTER to View, and you can view the available
information by pressing Enter. At any time, press Esc to return to the next higher
menu level.
Settings cannot be changed or altered from the Status or Informational menus. To

change settings, use the remote software or the Setup menu on the front panel.
6-9
Chapter 7
DolbyRemote 570
DolbyRemote 570 provides quick access to virtually all of the DP570’s functions. In
addition, the application provides access to some features not available from the
DP570 front-panel interface.
Use of DolbyRemote 570 allows the DP570 to be located in another room or at a

distance from the operator. While DolbyRemote 570 is in operation, the Remote LED
on the front panel of the DP570 is lit and access to the setup menu via the front-panel
buttons is disabled.
7.1 System Requirements

DolbyRemote 570 can be run on a PC that meets these minimum requirements:
• 166 MHz Pentium processor
• 32 MB RAM
• 10 MB available hard drive storage
• Super VGA video card with 800 × 600 resolution
7.2 Hardware Connection

To connect the DP570 to its remote control device, use a serial cable from your
computer to either the front-panel Remote RS-232 port, or the rear-panel Remote RS-
485 port. For connector and pin descriptions for these ports, see Sections 8.2 and 8.8.
7.3 Installing the Software

DolbyRemote 570 software is provided on a floppy diskette.
7-1
Model DP570 User’s Manual DolbyRemote 570
Diskette Installation
1. Place the diskette in the PC and run Setup.exe.
2. Use the default destination or select an alternate location for the software
installation.
3. Follow screen prompts until installation is complete.
7.4 Launching the Application

Configure the DP570 communications parameters from the front panel prior to
launching the DolbyRemote 570 software. Upon launching the application, the Open
Device window is displayed. The PC communications parameters should be set to
reflect the DP570 communications settings.
Table 7-1 Communications Parameters

Default values are in bold.
Parameter Values
Port Com1 through Com10
Baud Rate 9600, 19200, 38400, or 115200
Address 8280 to 82fe, even numbers
Figure 7-1 Communications Configuration
Before you click OK to begin remote software operation of the DP570, on the DP570
front panel press the Shift button once so that the button illuminates, then ←. (Do not
hold down Shift while pressing ←.) To disable remote operation and resume using
the front-panel interface, press Shift, ← again.
7-2
7.5 Display Overview

DolbyRemote 570 uses menus and commands familiar to users of Microsoft
Windows. Menus and commands unique to DolbyRemote 570 are described in this
chapter.
Main Metadata
Monitor
Figure 7-2 DolbyRemote 570 Windows
The application display consists of three windows: Main, Metadata and Monitor. All
three windows open when the program launches; you can use the View menu to open
or close various combinations of the windows.
The four buttons (Connect, Setup, Router, and User Presets) above the Main
window provide access to essential DP570 functions.
7.5.1 Connect
The Connect button is only available if the Off Line check box was enabled when
the application launched (See Figure 7-1). If you are using the DolbyRemote 570
application off line and wish to connect to the DP570, click Connect, click the Off
Line box to disable that selection, and click OK. If the device and software do not
recognize each other, check the communications menu on the front panel of the
DP570 and make sure the parameters match those on the screen.
7.5.2 Setup
Click Setup to use DolbyRemote 570 to set up your listening environment. It is very
important that you follow the procedure in Section 2.4, Quick Start Guide to set up
your listening environment properly using the controls on the Monitor tab.
7-3
Monitor Tab
In addition to the controls involved in the essential steps in the Quick Start Guide, the
Monitor tab is where you can choose settings for Dim Gain, and enable or disable
Sticky Settings and Extended BSI parameters. All settings on the Monitor tab affect
your monitoring system only.
Dim Gain
The Dim Gain slider sets an alternate level for all speaker outputs. This level is
activated when you enable the Dim button in the Monitor window in the opening
display shown in Figure 7-2. This setting enables you to change your monitor level in
one click (for instance, if a client walks in or you have to take a phone call), then
return to your master level setting by clicking Dim again.
If you select “Off” for the Dim Gain setting, then activating the Dim level mutes the
speakers.
Note: Dim level activation is not available on the front-panel interface, although
you can change the Dim Gain setting using the front-panel controls.
Digital Reference Level

This level should be set to match your studio’s digital reference level before turning
on a test noise when calibrating your speaker system, as described in Section 2.4.2,
Setting Up Monitors. This level also properly calibrates the B-type section in the
Pro Logic decoder.
Extended BSI
When you enable Extended BSI, your monitoring system responds to the extended
BSI metadata parameter settings. When you disable the check box, your monitor
ignores those parameters. See Section A.5.2, Extended Bitstream Information
Parameters for a more detailed explanation of these parameters.
Sticky Settings
When you enable Sticky Settings, your last settings for Dynamic Range Control
profiles, downmix, speaker selection, LFE monitor, master volume, and emulator
bypass for your listening environment remain with each program when you leave one
program to monitor another. This allows you to switch to another program, monitor
that program, then return to the original program without losing the settings you had
chosen for the original program.
When you disable Sticky Settings, settings for these monitoring modes do not change
when you leave one program to monitor another.
7-4
GPI/O Tab
You can use the GPI/O tab to configure the DP570 for control by simple contact
closures and for providing tally signals to monitor operation. The GPI/O setup tab
enables you to select the following on a pin-by-pin basis:
• Input and output trigger type as Edge or Level
• Input and output logic polarity as Negative Low or Positive High
• Input and output function assignments
Input and output pin assignments are detailed in Section 4.2, Internal Metadata
Default Settings.
7.5.3 Router
The DP570 router enables you to reassign input channels as necessary. The router
remains active even when the DP570 is in Emulator Bypass mode, so you can make
sure your channel assignments match downstream requirements even if you are not
using the DP570 for monitoring or metadata evaluation.
Figure 7-3 Setup Router Window
The Setup Router window shows how the current program configuration is mapped. It
also lets you change the current input assignments.
7-5
The audio input channels are identified next to each row of option buttons. The router
output assignments are identified above each column. The Program display line
shows which output channels are associated with each program in the current
program configuration. The Channel display line shows how audio channels within
each program are assigned to the output channels. For a complete list of channel
assignments associated with different program configurations, see Table 4-2.
Four router-preset configurations can be saved for subsequent recall. The preset name
may have a maximum of 12 characters. For more information on the input router, see
Section 4.6, Input Router Settings.
7.5.4 User Presets

You can save up to 32 presets.
You can save three different types of presets. Authoring presets include the Dolby E
program configuration, all metadata parameters for each program, and the source for
each parameter. Emulator presets include the DRC and downmix modes, speaker-
system choice, bass management, router settings, and LFE monitor mode. The third
type, all, includes both authoring and emulator settings. See Section 4.3, User
Presets, for details.
To save a preset:
1. Click User Presets.
2. Click Save.
3. Select a preset number.
4. Select the type of preset: All, Authoring, or Emulator.
5. Name the preset, using no more than 12 characters, then click OK.
The preset name appears with the number on the button for the preset number
you chose.
To recall any preset:
1. Click User Presets.
2. Choose a preset number and click that button, then click OK.
7.6 Main Window

Figure 7-4 shows the Main window. The feature groups are:
• Program Configuration
• Status
• Program Select
7-6
• Dialogue Level
• Emulator
Figure 7-4 Main Window
7.6.1 Program Configuration

Click one of the three available option buttons to select the Program Configuration
source as Internal, External 1, or External 2.
If you select an external source, that source controls the metadata settings. You can
still replace metadata settings with internally generated selections if you choose to,
using individual parameter selections in the Metadata window. When you select an
external source, the other external source is unavailable.
If you select Internal, the configuration can be selected from the drop-down list. If
you select an external source, the configuration is displayed but no user selection is
possible. For a complete list of program configurations, see Table 4-2.
7.6.2 Status
Status indicators display in the same manner as the LEDs on the front panel of the
DP570.
• Metadata There are separate indicators for inputs 1 and 2.

Input Green: Signal is locked and valid.
Red: Invalid signal while unit is in external metadata mode.
Off: Unit is not in external metadata mode.
• Delay Green: Router or metadata output is delayed.
Off: No delay.
7-7
• Error Red: Loss of lock of required digital audio input; or while using
external metadata, loss of lock of V Ref input; loss of lock or
invalid metadata input.
Off: No errors.
• V Ref Green: Signal is locked.

Red: No signal or invalid signal. (Check for proper termination.)
A box below the V Ref indicator displays the current video frame rate.
7.6.3 Program Select

The number of programs available is determined by the Program Configuration. The
selected program button appears green, and the active program name is displayed
below the buttons. Program selection defines both what you hear and the metadata
adjustments available. You can adjust metadata parameters only for the active
program selection; if the active program configuration includes multiple programs,
you should review the metadata settings for each program.
7.6.4 Dialogue Level

Dialogue level is a crucial setting when producing content. The controls available for
this setting are prominently placed on the DolbyRemote 570, although the setting is
actually a metadata parameter adjustment. See Appendix A, Metadata, for a more
detailed explanation of the parameter. Like all metadata parameters, the source for
dialogue level can be either external or internal. The dialogue level parameter source
must be internal to adjust the value using the DP570.
To set the dialogue level parameter, the first and most important step is selecting an
audio sample, or “clip,” representative of the average loudness level of the program
content. Remember that the dialogue level parameter establishes the level for normal
dialogue in the program; quieter and louder scenes tend to show higher or lower
measurements than the correct value. Using more than one clip can be worthwhile—
for instance, samples of conversation involving featured characters with different
vocal qualities. In programs without dialogue, such as a music concert, you need to
identify sections of average loudness. With representative audio clips identified, you
can use the DP570 to set the dialogue level parameter.
Note: The Measure function used in the following procedure is designed to

measure dialogue only. Programs without dialogue, such as an all-music
program, still require a careful setting of the dialogue level parameter. When
setting the parameter for such content, it is useful to compare the program to
the level of other programs. The goal is to allow the consumer to switch to
your program without having to adjust the volume control.
7-8
To measure dialogue level:

2. While the clip is playing, click Measure, next to the Dialogue Level slider.
The DP570 begins measuring the level of the audio clip. The software display
of the measured level varies widely at first, but the measurement is an average
level over time (LeqA), so the display stabilizes as the clip continues.
If the input audio level registers below –31 dBFS, the Accept button is disabled,
as those values are not valid settings for the dialogue level parameter. Below
–40 dBFS, the display reads LOW. In either case, it is best to bring the input
audio level to operating level and remeasure the selected audio clip.
3. When an adequate amount of the clip has played, click Measure to stop the
measurement.
The software displays the level of the audio clip. This level displays until you
start a new measurement.
Repeat these steps with each audio clip selected. The DP570 should return similar
values for each of the clips. If the variation between the clips is 4 dB or less, select a
value for the dialogue level parameter within that range that best indicates the average
level of the program content. At any time, to use the measurement level displayed on
the software, click Accept, and the dialogue level parameter is set at that level. To set
the dialogue level parameter manually, click and drag the Dialogue Level slider to the
setting you want.
If the DP570 measures more than a 4 dB difference in your dialogue samples,

reconsider the clips you have chosen, recalling that these clips should represent
normal speech level in your content.
7.6.5 Emulator
Click Bypass to send the input signal directly to the router outputs. When enabled,
the Bypass button flashes yellow. Routing remains available in Bypass mode, but no
other DP570 features are operative.
Click Lt/Rt to select Lt/Rt input mode. See Section 4.4, Using Lt/Rt Input Mode, for
details.
Caution: Changes to metadata parameters may still be made while in Lt/Rt input
mode, but you cannot hear the effect of these changes, because the
emulator is dedicated to Lt/Rt input signal. Therefore, you should only
change metadata values while not in Lt/Rt input mode.
7-9
7.7 Metadata Window

The Metadata window includes five tabs: Dolby E, Audio Processing, Dynamic
Range, Bitstream Info, and Extended BSI. Each tab displays a group of parameter
settings.
Option buttons for Internal, External 1, and External 2 appear next to each
parameter. If the program metadata source is internal, the option buttons for
External 1 and External 2 are available. When you select one external source for a
parameter, the other external source is unavailable for all parameters. If the current
program metadata source is external, the metadata value for each parameter is defined
by that external source and the other external source is unavailable. You can select
the Internal option button for an individual parameter to override that value from the
external source with a parameter value from the DP570.
For a list of metadata parameters with basic definitions, see Table 6-2. For more
detailed information on metadata, see Appendix A, Metadata.
7.7.1 Dolby E
The Dolby E tab displays the program metadata source and the program name for the
current program. To change the program name, select Int under Program Name,
select the text in the text box, type the new name, and click out of the text box.
Figure 7-5 Dolby E Metadata Tab
7-10
7.7.2 Audio Processing

Parameters on the Audio Processing tab are enabled and disabled by clicking the
check box next to the parameter name, except Channel Mode. The availability of
modes in the Channel Mode drop-down list box is controlled by the program
configuration.
Figure 7-6 Audio Processing Tab
7-11
7.7.3 Dynamic Range

Dynamic Range Control (DRC) profiles are particularly important because the
profiles you select are implemented at the consumer level when the consumer chooses
to apply DRC. Before you listen to different profiles, it is essential that Dialogue
Level is set accurately. See Appendix A, Metadata for details on selecting DRC
profiles.
Figure 7-7 Dynamic Range Tab
7-12
7.7.4 Bitstream Info

Choices are available via drop-down lists and check boxes. Note that for Mix Level
and Room Type information to be carried downstream, Audio Production Info must
be enabled.
Figure 7-8 Bitstream Info Tab
The values for Center Mix Level and Surround Mix Level display on this tab but
cannot be set. Instead, these values are derived from the equivalent Extended BSI
values, Lo/Ro Center Mix Level and Lo/Ro Surround Mix Level. This
arrangement allows you to set the Lo/Ro mix levels using the additional options of
the Extended BSI while the more restricted mix level values, shown on this tab, are
set automatically to be as close to the desired values as possible. Table 7-2 shows the
values assigned Center Mix and Surround Mix according to the Lo/Ro mix level
settings. See Section A.5.2, Extended Bitstream Information Parameters, for a more
detailed explanation of the Lo/Ro parameters.
Table 7-2 Derived Mix Level Values from Extended BSI Lo/Ro Settings
Lo/Ro Center Surround

Setting Mix Level Mix Level
3 dB –3.0 dB –3.0 dB
1.5 dB –3.0 dB –3.0 dB
0.0 dB –3.0 dB –3.0 dB
–1.5 dB –3.0 dB –3.0 dB
–3.0 dB –3.0 dB –3.0 dB
–4.5 dB –4.5 dB –6.0 dB
–6.0 dB –6.0 dB –6.0 dB
Off –6.0 dB Off
7-13
7.7.5 Extended BSI

The setting for Preferred Stereo Downmix designates whether an Lt/Rt or a Lo/Ro
downmix is sent to the output of a stereo decoder. Lo/Ro Center Mix Level and
Lo/Ro Surround Mix Level control the stereo downmix values in a compliant
decoder. Lt/Rt Center Mix Level and Lt/Rt Surround Mix Level control the Lt/Rt
(a.k.a. surround-encoded) downmix values in a compliant decoder. See Section A.5.2,
Extended Bitstream Information Parameters, for a more detailed explanation of these
parameters.
Surround mix level parameters are active only if the Channel Mode setting is 2/1,
3/1, 2/2, or 3/2. Center mix level parameters are active only if the Channel Mode is
3/0, 3/1, or 3/2.
The effect of the downmix parameters on the Extended BSI tab will not be heard
unless the Emulator is set in the Extended BSI mode on the Emulator Setup window.
Figure 7-9 Extended BSI Tab
7-14
7.8 Monitor Window

Figure 7-10 shows the Monitor window. This window displays controls for your
listening environment. Controls in this window do not affect the metadata stream or
the router output in any way—they adjust signal output to your listening environment
so you can make adjustments to those output streams if necessary.
If your DP570 does not include the Cat. No. 548 Analog Option Card, some of the
features in the Monitor Window are not available and are grayed out.
The feature groups are:
• Volume
• Speakers
• Input Lock
• Level Meters
• Output Control
• Downmix
Figure 7-10 The Monitor Window
7.8.1 Volume
The Volume group controls only affect the output from the Cat. No. 548 Analog
Option Card. Features are:
• Master volume slider—click and drag the slider to set master volume output to
your speakers.
• Dim button—click to activate and deactivate the Dim setting. This setting
cannot be activated or deactivated from the front panel of the DP570.
To adjust the level of the Dim setting, click the Setup button, then on the
Monitor tab click and drag the Dim Gain slider. See Section 7.5.2, Setup for
more information on the Dim Gain setting.
• Ref button—sets the volume slider to 0 dB.
7-15
7.8.2 Speakers
The Multi, Stereo, and Mono buttons allow selection of the desired speaker system.
All downmix modes are available when using the multichannel speaker system. When
using stereo or mono speaker systems, the downmix choices are restricted to be
compatible with those systems.
7.9 Input Lock

A display light is provided for each PCM input to indicate the present status of the
input signal.
Green: Locked
Red: Invalid
7.10 Level Meters

Meters display the levels for all input and output channels. Click the Input Level tab
to view PCM input levels, Lt/Rt Level to view Lt/Rt input levels, or Output Level to
view output levels.
Input Level Tab Lt/Rt Level Tab Output Level Tab
Figure 7-11 Level Meter Tabs
7.11 Output Control

You can mute any individual channel or combination of channels by clicking the
Mute button associated with each speaker output. Click the Solo button to mute all
but the selected solo channel. The mute and solo functions are not available on the
front panel of the DP570.
7-16
7.12 Downmix
Click any of the available buttons to monitor a downmix or to monitor the full
multichannel mix. As with all controls in the Monitor window, selections in this
group of controls do not affect the metadata stream or the router output in any way—
they only affect signal output to your listening environment.
Dynamic Range Control

Click Line or RF to monitor the effects of the dynamic range control (DRC) profile
for each of these modes. To change the profile in the metadata stream, click the
Dynamic Range tab in the Metadata window. For more information on DRC, see
Appendix A, Metadata.
Custom Cut/Boost
The Custom setting lets you adjust the amount of boost or cut in the Line Mode
profile. This control provides a range of 0 (no application of the profile) to 1 (full
application) in 0.1 increments. A few consumer decoders allow the consumer to apply
a variable amount of the Line Mode profile, and this feature allows you to emulate
what they are able to hear, given that control.
7-17
Chapter 8
Specifications
8.1 Electrical Specifications

Sampling Rate 48 kHz (±0.1 %), 44.1 kHz (±0.1 %), 32 kHz
Video Frame Rate 30, 29.97, 25, 24, and 23.98 fps
Router Output Delay 16 samples (min.), optional one frame
Emulator Output Delay 11.6 ms (min.), 25 ms, or one frame
Metadata Processing Delay 2 ms (min.), optional one frame
Audio Word Length Up to 24 bits
Digital Audio In Five BNC female connectors, AES-3ID-1995/SMPTE 276M
Digital Audio Out Eight BNC female connectors, AES-3ID-1995/SMPTE 276M
Remote Input (front) RS-232, 8-pin female mini DIN
Remote Input (rear) RS-485, 9-pin female D-connector on the rear panel
Metadata Inputs Two RS-485, 9-pin female D-connectors on rear panel

Metadata Output RS-485, 9-pin female D-connector on rear panel
GPI/O Port TTL level, 37-pin female D-connector on rear panel

Ethernet Port RJ-45 female jack connector on the rear panel.
Analog Outputs
Frequency Response 20 Hz–20 kHz, ±0.5 dB

Distortion Less than 0.01% at 1 kHz
Less than 0.02%, 20 Hz–20 kHz
Dynamic Range Greater than 106 dB
Output Connectors Two 25-pin female D-connectors on rear panel
8-1
Model DP570 User’s Manual Specifications
8.2 Front-Panel RS-232 Remote Connector

Pin Connection
1 NC
2 NC
3 RX asynchronous data out
4 Ground
5 TX asynchronous data in
6 NC
7 NC
8 Sense select front panel
8.3 Digital Audio Inputs (5)

BNC unbalanced female connectors compliant with AES-3ID-1995/SMPTE 276M
specifications. Two connectors are provided in parallel for the Lt/Rt input to provide
loop-through capability.
8.4 Digital Audio Outputs (8)

BNC unbalanced female connectors compliant with AES-3ID-1995/SMPTE 276M
specifications.
8.5 V Ref Input

BNC unbalanced female connector that receives NTSC composite program or color
black video. Signal levels are compliant with SMPTE 154 specifications. Two
connectors are provided in parallel to provide loop-through capability.
8-2
8.6 Metadata Input Ports (2)

9-pin female D-connector with full-duplex RS-485 protocol running at 115 kbps.
Pinout is SMPTE 207M compatible.
Pin Connection
1 Shield
2 TX A asynchronous data out –
3 RX B asynchronous data in +
4 Ground
5 NC
6 Ground
7 TX B asynchronous data out +
8 RX A asynchronous data in –
9 Shield
8.7 Metadata Output Port
9-pin female, RS-485, full-duplex, 115 kbps. Pinout is SMPTE 207M compatible.
Pin Connection
1 Shield
2 RX A asynchronous data in –
3 TX B asynchronous data out +
4 Ground
5 NC
6 Ground
7 RX B asynchronous data in +
8 TX A asynchronous data out –
9 Shield
8-3
8.8 Rear-Panel Remote Port

9-pin female D-connector with RS-485 protocol. Pinout is SMPTE 207M
electrical/mechanical specification compatible
Pin Connection
1 Shield
2 TX B asynchronous data out –
3 RX A asynchronous data in +
4 Ground
5 NC
6 Ground
7 TX A asynchronous data out +
8 RX B asynchronous data in –
9 Shield
8.9 10BASE-T Port (Ethernet)

The Ethernet port is a standard RJ-45 female jack.
8-4
8.10 Multichannel Analog Output

25-pin female D-connector. Uses similar pinout as DA-88 connector except that
output channels are referred to speakers instead of channel numbers.
Pin Connection Pin Connection
1 Bsr + Out 14 Bsr – Out

2 Bsr Ground 15 Bsl + Out
3 Bsl – Out 16 Bsl Ground
4 Rs + Out 17 Rs – Out
5 Rs Ground 18 Ls + Out
6 Ls – Out 19 Ls Ground
7 Subwoofer + Out 20 Subwoofer – Out
8 SW Ground 21 Center + Out
9 Center – Out 22 C Ground
10 Right + Out 23 Right – Out
11 R Ground 24 Left + Out
12 Left – Out 25 L Ground
13 No Connection
8.11 Stereo/Mono/Solo Analog Output

25-pin female D-connector.
Pin Connection Pin Connection

1 Digital Ground 14 NC
2 NC 15 NC
3 NC 16 NC
4 NC 17 NC
5 NC 18 Solo In R +
6 Solo In R – 19 SR Ground
7 Solo In L + 20 Solo In L –
8 SL Ground 21 Mono + Out
9 Mono – Out 22 M Ground
10 Right Stereo + Out 23 Right Stereo – Out
11 R Ground 24 Left Stereo + Out
12 Left Stereo – Out 25 L Ground
13 NC
8-5
8.12 Mechanical Specifications

Dimensions 8.8 × 48.3 × 33 cm (3.5 × 19 × 13 inches)
Net Weight 4 kg (8.5 lb) approx.
Shipping Weight 6 kg (13 lb) approx.
Power Requirements 90–264 VAC, 50–60 Hz
Power Consumption 40 W maximum
8.13 Environmental Specifications

Temperature
Operating 0oC to 50oC, natural convection cooling
Non Operating –20oC to +70oC
(Storage)
Humidity Up to 98% relative humidity, non-condensing
EMC Limits
Radiated Per EN 55103-1, FCC Part 15 Class A, ICES-003
Immunity Per EN 55103-2
8-6
Appendix A
Metadata
Metadata provides unprecedented capability for content producers to deliver the

highest quality audio to consumers in a range of listening environments. It also
provides choices that allow consumers to adjust their settings to best suit their
listening environments.
In this appendix, we first discuss the concept of metadata:
• Metadata overview
We then discuss the three factors controlled by metadata that most directly affect the
consumer’s experience:
• Dialogue level
• Dynamic range control (DRC)
• Downmixing
We then define each of the adjustable parameters, and provide sample combinations:
• Individual parameters
• Metadata combinations
A.1 Metadata Overview

Dolby Digital and Dolby E are both bit-rate reduction technologies that use metadata
to describe the encoded multichannel audio. In normal operation the encoded audio
and metadata are carried together as a data stream on two regular digital audio
channels (AES/EBU or S/PDIF). Metadata is carried in the Dolby Digital or Dolby E
bitstream, describing the encoded audio and conveying information that precisely
controls downstream encoders and decoders. Metadata allows content providers
unprecedented control over how original program material is reproduced in the home.
Dolby Digital is a transmission bitstream (sometimes called an emission bitstream)

intended for delivery to the consumer. It consists of a single encoded program of up
to six channels described by one metadata stream. The consumer’s Dolby Digital
decoder processes the metadata stream according to parameters set by the program
creator, as well as certain settings for bass management and dynamic range that are
chosen by the consumer to reflect their specific home theater equipment and
environmental conditions.
A-1
Model DP570 User’s Manual Appendix A: Metadata
Dolby E is a distribution bitstream capable of carrying up to eight channels of

encoded audio and metadata. The number of programs ranges from one single
program (Program Config: 5.1) to eight individual programs on a single Dolby E
stream (Program Config: 8 × 1). Each program is discrete with its own metadata in
the Dolby E stream. Some control metadata parameters in a Dolby E stream
automatically configure a Dolby Digital encoder while others are passed through to
the consumer’s Dolby Digital decoder.
Dolby E is a professional technology used for broadcast applications such as program

origination and distribution; the Dolby E bitstream carries the entire metadata
parameter set. Dolby Digital, used for consumer applications such as transmission to
the home or for DVD authoring, employs a subset of the entire metadata parameter
set called Dolby Digital metadata; the Dolby Digital bitstream carries only those
parameters necessary for proper decoding by the consumer.
Metadata is first inserted during program creation or mastering, and is carried through
transmission in a broadcast application or directly onto a DVD. The metadata
provides control over how the encoded bitstream is treated at each step on the way to
the consumer’s decoder.
For example:
In a broadcast truck parked outside a football stadium, the program mixer chooses the
appropriate metadata for the audio program being created. The resulting audio
program, together with metadata, is encoded as Dolby E and sent to the television
station via fiber, microwave, or other transmission link. At the receiving end of this
transmission, the Dolby E stream is decoded back to baseband audio and metadata.
The audio program is monitored and the metadata is altered or re-created as other
elements of the program are added in preparation for broadcast. This new audio
program/metadata pair is re-encoded as Dolby E, leaves the postproduction studio and
is passed through the television station to Master Control, where many incoming
Dolby E streams are once again decoded back to their individual baseband digital
audio/metadata programs. The audio program/metadata pair that is selected to air is
sent to the transmission Dolby Digital encoder, which encodes the incoming audio
program according to the metadata stream associated with it, thereby simplifying the
transmission process. Finally, the Dolby Digital signal is decoded in the consumer’s
home, with metadata providing the information for that decoding process. Through
the use of metadata, the mixer in the truck has been able to control the home decoder
for the sporting event, while news breaks, commercials, station IDs, and the like are
similarly appropriately decoded.
This control, however, requires the producer to correctly set the metadata parameters
because they affect important aspects of the audio—and can seriously compromise
the final product if set improperly. Although most metadata parameters are
transparent to consumers, certain parameters affect the output of a home decoder, like
when downmixing for a specific speaker configuration, or when the consumer
chooses Dynamic Range Control to avoid disturbing family and neighbors.
A-2
Figure A-1 shows a 5.1 + 2 Program Config consisting of a 5.1-channel program and
a two-channel Secondary Audio Program (SAP).
Multichannel
Monitor System
The Dolby E bitstream
contains both the 5.1- and
Metadata two-channel programs’
Program Source encoded audio, and each
program's metadata.
L/R
5.1-Channel DP570 C/LFE
Program DP571
Multichannel Audio
Ls/Rs Dolby E Encoder
Tool in 5.1+2 Program Config
in 5.1+2 Program Config
Two-Channel
(Stereo) Program Lt/Rt
Decoded Dolby E bitstream

delivers both the 5.1- and The Dolby Digital bitstream
two-channel programs’ contains a single program’s
encoded audio along with encoded audio and
corresponding metadata. corresponding metadata.
DP572 DP569 Broadcast

Cable, Satellite, Consumer
Dolby E Decoder Dolby Digital Encoder or Terrestrial
Dolby
Two-
Channel
SAP or Visual Encoder
Descriptive
Metadata
Figure A-1 Metadata Flow from Production to Consumer
In the simplest terms, there are two functional classifications of metadata:
Informational: These parameters convey information but do not affect either the
encoded bitstream or the decoding process. For example, the Bitstream Mode
parameter describes the audio service provided in the bitstream according to the
ATSC specification. This information may be used by certain components in the
audio system.
Control: These parameters direct how the decoder, encoder, or both process the
audio when certain modes are applied to the encoder or decoder. For example, the
Lowpass Filter parameter determines whether a lowpass filter is applied to the
main inputs of a Dolby Digital encoder, and the Surround Downmix Level
parameter instructs the Dolby Digital decoder how to mix the surround channels
during downmixing.
A-3
Both types of metadata can be examined, modified, or passed through during

encoding. Table A-1 lists the active metadata parameters and indicates if each
parameter is informational or control.
Table A-1 Metadata Parameters

Extended Bitstream Information parameters are in italics.
Metadata Parameter Informational Control
Dialogue Level r
Channel Mode r
LFE Channel r
Bitstream Mode r
Line Mode Compression r
RF Mode Compression r
RF Overmodulation Protection r
Center Downmix Level r
Surround Downmix Level r
Dolby Surround Mode r
Audio Production Information r
Mix Level r
Room type r
Copyright Bit r
Original Bitstream r
Preferred Stereo Downmix r
Lt/Rt Center Downmix Level r
Lt/Rt Surround Downmix Level r
Lo/Ro Center Downmix Level r
Lo/Ro Surround Downmix Level r
Dolby Surround EX Mode r
A/D Converter Type r
DC Filter r
Lowpass Filter r
LFE Lowpass Filter r
Surround 3 dB Attenuation r
Surround Phase Shift r
A.2 Dialogue Level

Dialogue level (also known as dialogue normalization or dialnorm) is perhaps the
single most important metadata parameter. The dialogue level setting represents the
average loudness of dialogue in a presentation.
When received at the consumer’s Dolby Digital decoder, this parameter setting
determines the level shift in the decoder that sets, or normalizes, the average audio
A-4
output of the decoder to a preset level. This aids in matching audio volume between
program sources.
The proper setting of the dialogue level parameter enables the Dynamic Range
Control profiles chosen by the content producer to work as intended in less-than-
optimal listening environments, and is essential in any content production, whether it
is for transmission in a broadcast stream or for direct distribution to consumers, as in
DVDs.
In broadcast transmission, standard setting of dialogue level ensures that the

consumer can switch channels or watch a television program without having to adjust
the volume control during commercial breaks. Using that standard for all content,
whether conveyed by broadcast television, DVD, or other media, enables the
consumer to switch between sources and programs while maintaining a comfortable
listening level.
Note: Programs without dialogue, such as an all-music program, still require a

careful setting of the dialogue level parameter. When setting the parameter
for such content, it is useful to compare the program to the level of other
programs. The goal is to allow the consumer to switch to your program
without having to adjust the volume control.
The Scale
The scale used in the dialogue level setting is from –1 to –31 dB in 1 dB steps.
Contrary to what you might assume at first, a setting of –31 represents no level shift
in the consumer’s decoder, and –1 represents the maximum level shift. Here’s why:
Dolby Digital consumer decoders standardize the average loudness (averaged over
time by the formula LeqA) to –31 dBFS (31 dB below 0 dB full-scale digital output)
by applying a shift in level based on the dialogue level parameter setting. When a
decoder receives an input signal with a dialogue level setting of –31, it applies no
level shift to the signal because this indicates to the decoder that the signal already
matches the target level and therefore requires no shift. In contrast, a louder program
requires a shift to match the –31 dB standard. When the dialogue level parameter
setting is –21, the decoder applies a 10 dB level shift to the signal. When the setting is
–11, it applies a 20 dB level shift, and so on.
A Simple Rule:
31 + (dialogue level value) = Shift applied
Example:
31 + (–21) = 10 dB
A-5
The most important point to remember is that in setting the dialogue level parameter,
you are providing your listener with an essential service. For your listeners, setting
this level properly means:
• The volume level is consistent with other programs.
• The DRC profiles you make available to them work as you intend.
Once dialogue level is set, you can set up DRC profiles to further benefit the
consumer.
A.3 Dynamic Range Control

Different home listening environments present a wide range of requirements
regarding dynamic range. Rather than simply compressing the audio program to work
well in the poorest listening environments, Dolby Digital encoders calculate and send
Dynamic Range Control (DRC) metadata with the signal. This metadata can be
applied to the signal by the decoder to reduce the signal’s dynamic range.
Through the proper setting of DRC profiles during the mastering process, the content
producer can provide the best possible presentation of program content in virtually
any listening environment, regardless of the quality of the equipment, number of
channels, or ambient noise level in the consumer’s home.
Many Dolby Digital decoders offer the consumer the option of defeating the Dynamic
Range Control metadata, but some do not. Decoders with six discrete channel outputs
(full 5.1-channel capability) typically offer this option. Decoders with stereo, mono,
or RF-remodulated outputs, such as those found on DVD players and set-top boxes,
often do not. In these cases the decoder automatically applies the DRC metadata
associated with the decoder’s selected operating mode.
The Dolby Digital stream carries metadata for the two possible operating modes of
the decoder. The operating modes are known as Line Mode and RF Mode due to the
type of output they are typically associated with. Line Mode is typically used on
decoders with six- or two-channel line-level outputs and RF Mode is used on
decoders that have an RF-remodulated output. Full-featured decoders allow the
consumer to select whether to use DRC and if so, which operating mode to use. The
consumer sees options such as Off, Light Compression, and Heavy Compression
instead of None, Line Mode, and RF Mode. Advanced decoders may also allow
custom scaling of the DRC metadata.
All that needs to be done during encoding is selection of the dynamic range control
profiles for Line Mode and RF Mode. The profiles are described in the following
sections.
A-6
Note: While the use of DRC modes during decoding is a consumer-selectable

feature, the dialogue level parameter setting is not. Therefore, the proper
setting of the dialogue level parameter is essential before previewing a DRC
profile.
Line Mode
Line Mode offers these features:
• Low-level boost compression scaling is allowed.
• High-level cut compression scaling is allowed when not downmixing.
• Dialogue, as set by the dialogue level parameter, is reproduced at a constant
level of –31 dBFS LAeq.
All line-level or power-amplified outputs from two-channel set-top decoders, two-

channel digital televisions, 5.1-channel digital televisions, Dolby Digital A/V
surround decoders, and outboard Dolby Digital adapters use Line mode.
Consumer control of the dynamic range is limited when downmixing. Products with
stereo or mono outputs do not usually allow consumer scaling of Line Mode. This is
because these devices are usually downmixing, (for example, when receiving a
5.1-channel signal.) However, in these products the consumer may have a choice
between Line Mode and RF Mode.
RF Mode
RF Mode offers these features:
• High- and low-level compression scaling is not allowed
(when active, always fully applied).
• +11 dB gain shift raises overall program level.
• Dialogue, as set by the dialogue level parameter and combined with the
+11 dB gain shift, is reproduced at a constant level of –20 dBFS LAeq.
RF Mode is designed for products (such as set-top boxes) that generate a downmixed
signal for connection to the RF/Antenna input of a television set; however, it is also
useful in situations where heavy DRC is required—for example, when small PC
speakers are used for DVD playback. In RF Mode, the overall program level is raised
11 dB, while the peaks are limited to prevent signal overload in the D/A converter.
By limiting headroom, severe overmodulation of television receivers is prevented.
The 11 dB gain provides an RF modulation level that compares well with analog
television broadcasts and premium movie channels.
In some situations it may be necessary to further constrain signal peaks above the
average dialogue level so that there is less than 20 dB headroom. The selection of a
suitable RF Mode profile achieves this.
A-7
Dynamic Range Control Profiles

Six preset DRC profiles are available to content producers: Film Light, Film
Standard, Music Light, Music Standard, Speech, and None. Each is applied in
the pattern shown in Figure A-2. All DRC profiles are encoded using a modified
B-weighted curve.
High
in
ty Ga
i
Un
Ouput Level
Cut
Early Range
Dialogue Level
Setting
Cut
Range
Null
Band
Boost Centered at
the Dialogue
Low
Range
Level Setting
Low Input Level High
Figure A-2 DRC Profile Pattern
In each case the center of the null band is assigned to the dialogue level parameter
setting, and the DRC profile is applied in relation to that level.
• Film Light
Max Boost: 6 dB (below –53 dB)
Boost Range: –53 dB to –41 dB (2:1 ratio)
Null Band Width: 20 dB (–41 dB to –21 dB)
Early Cut Range: –26 dB to –11 dB (2:1 ratio)
Cut Range: –11 dB to +4 dB (20:1 ratio)
• Film Standard
• Music Light (No early cut range)
A-8
• Music Standard
• Speech
• None
No DRC profile selected. The dialogue level parameter (dialnorm) is still applied.
These choices are available to the content producer for both Line Mode and RF
Mode. The content producer chooses which of these profiles to assign to each mode;
when the consumer or decoder selects a DRC mode, the profile chosen by the
producer is applied.
In addition to the DRC profile, metadata can limit signal peaks to prevent clipping
during downmixing. This metadata, known as overload protection, is inserted by the
encoder only if necessary. For example, consider a 5.1-channel program with signals
at digital full scale on all channels being played through a stereo, downmixed line-
level output. Without some form of attenuation or limiting the output signal would
obviously clip. Correct setting of the dialogue level and DRC profiles normally
prevents clipping and unnecessary application of overload protection.
Note: DRC profile settings are dependent on an accurate dialogue level setting.
Improper setting of the dialogue level parameter may result in excessive and
audible application of overload protection.
A.4 Downmixing
Downmixing is a function of Dolby Digital that allows a multichannel program to be
reproduced over fewer speaker channels than for which the program is optimally
intended. Simply put, downmixing allows consumers to enjoy a DVD or digital
television broadcast without requiring a full-blown home theater setup.
As with stereo mixing where the mix is monitored in mono on occasion to maintain
compatibility, multichannel audio mixing requires the engineer to reference the mix
to fewer speaker channels to ensure compatibility in downmixing situations. In this
way, Dolby Digital, using the metadata parameters that control downmixing, is an
“equal opportunity technology” in that every consumer who receives the Dolby
Digital data stream can enjoy the best audio reproduction possible, regardless of the
playback system.
A-9
It is important to consider the output signals from each piece of equipment that can
receive a Dolby Digital program in the home. Table A-2 shows the output types from
different equipment.
Table A-2 Outputs from Various Dolby Digital Signal Processing Equipment
Output
Equipment
Digital 5.1-Channel Two-Channel RF
Analog Analog Remodulated
5.1-channel amplifier
The standard home theater r r
A/V amp
5.1-channel decoder r r
Hi-end DVD player r r r
DVD player r r
PC (some units)
Includes games consoles
r r
High-end set-top box
Often HDTV
r r r r
Set-top box
Usually SDTV
r r r
IDTV
TV set with an integrated r r
digital TV tuner
High-end TV
Large screen TV with a r r
5.1-channel speaker system
Set-top boxes, used for the reception of terrestrial, cable, or satellite Digital
Television, typically offer an analog mono signal modulated on the RF/Antenna
output, a line-level analog stereo signal, and an optical or coaxial digital output. DVD
players offer an analog stereo and a digital output, and some offer a six-channel
analog output (for a 5.1-channel presentation). Portable DVD players offer analog
stereo, headphone, and digital outputs. DVD players in computers and game consoles
offer a digital output as well as analog stereo, headphone, and possibly six-channel
analog outputs. 5.1-channel amplifiers, decoders and receivers have six-channel
analog outputs and possibly six speaker-level outputs.
In all of these cases, a Dolby Digital decoder creates the analog audio output signal.
In the case of the set-top box or DVD player, the analog stereo output is a downmixed
version of the Dolby Digital data stream. The digital output delivers the Dolby Digital
data stream to either a downstream decoder or a Dolby Digital capable integrated
amplifier.
In each of these devices, the analog stereo output is one of two different stereo
downmixes. One type is a stereo-compatible Dolby Surround downmix (also called
A-10
Pro Logic, left-total/right-total, or Lt/Rt) of the multichannel source program that is

suitable for Dolby Surround Pro Logic decoding. The other type is a simple stereo
representation (called a left-only/right-only, or Lo/Ro) suitable for playback on a
stereo hi-fi or on headphones, and from which a mono signal is derived for use on an
RF/Antenna output. The difference between the downmixes is how the surround
channels are handled. The Lt/Rt downmix sums the surround channels and adds them,
in-phase to the left channel and out-of-phase to the right channel. This allows a Dolby
Surround Pro Logic decoder to reconstruct the L/C/R/S channels for a Pro Logic
home theater. The Lo/Ro downmix adds the right and left surround channels
discretely to the left and right speaker channels. This preserves the stereo separation
for stereo-only monitoring and produces a mono-compatible signal. In all downmixes,
the LFE channel is not included.
On most home equipment, the consumer can use the product’s user interface to
choose the appropriate stereo output for their playback system. The mono signal
feeding the RF/Antenna output is always derived from the Lo/Ro downmix.
There are separate metadata parameters for the adjustment of the Lo/Ro and Lt/Rt
downmix conditions. Certain metadata parameters allow the engineer to select how
the stereo downmix is constructed and which stereo analog signal is preferred, but
Lt/Rt is the default selection in all consumer decoders. See Section A.5, Parameter
Definitions, for more information on individual parameters.
During downmixing, as we have seen, the adjustment of dynamic range control

parameters is limited. Broadly speaking, the stereo outputs use the Line Mode
compression profile and the mono signal uses RF Mode compression. As with
dynamic range control, downmixing is ultimately dependent upon each consumer’s
unique listening environment.
While the engineer must optimize the multichannel mix for reproduction in an ideal
listening environment, it is also important to preview the mix in downmixing
conditions to ensure compatibility with different playback systems when selecting the
downmixing metadata parameters. These previews can be achieved in real time using
the DP570 Multichannel Audio Tool.
A.5 Parameter Definitions

Metadata parameters include:
• Universal parameters
• Extended Bitstream Information (Extended BSI) parameters
Extended BSI parameters are active only when the consumer’s decoder is capable of
reading them and when the producer chooses to use them. All decoders can
successfully decode a metadata stream without Extended BSI parameters, and
Extended BSI parameters translate seamlessly to decoders that read only universal
parameters.
A-11
A.5.1 Universal Parameters

Universal parameters are present in all Dolby Digital encoders and decoders.
Dialogue Level
The dialogue level parameter is discussed in Section A.2, Dialogue Level.
Channel Mode
This parameter (also known as audio coding mode) indicates the active channels
within the encoded bitstream and affects both the encoder and consumer decoder.
This parameter instructs the encoder as to which inputs to use for this particular
program; it tells the decoder what channels are present in this program so the decoder
can deliver the audio to the correct speakers.
The setting is described as X/Y, where X is the number of front channels (Left,
Center, Right) and Y the number of rear (surround) channels.
The availability of certain channel modes depends on the data rate and whether the
LFE Channel is present. For example, you can’t have a mono stream with an LFE
channel (1.1!) or a 3/2 stream at 96 kbps. Appropriate data rates are shown in the
definition of each setting.
Note: The presence of the LFE channel is indicated through a different metadata
parameter (see LFE Channel).
Channel
Mode Definition and Data Rate
Setting
1+1 Dual mono (not valid for DTV
broadcast or DVD production)
1/0 Mono From 96 kbps, usually 96kpbs
2/0 Stereo From 192 kbps, usually 192
kbps
3/0 From 256 kbps
2/1 From 256 kbps
3/1 From 320 kbps
2/2 From 320 kbps
3/2 From 384 kbps, often 448 kbps
LFE Channel
The status of the LFE Channel parameter indicates to a Dolby Digital encoder
whether an LFE Channel is present within the bitstream. Channel Mode determines
whether the LFE Channel parameter can be set. You must have at least three channels
in order to be able to add an LFE channel.
A-12
LFE Channel Setting
Enable
Disable
Bitstream Mode
This parameter describes the audio service contained within the Dolby Digital
bitstream. A complete audio program may consist of a main audio service (a complete
mix of all the program audio), an associated audio service comprising a complete
mix, or one main service combined with an associated service. To form a complete
audio program, it may be (but rarely is) necessary to decode both a main service and
an associated service using a maximum total bit rate of 512 kbps. Refer to the Guide
to the Use of the ATSC Digital Television Standard, Document A/54 (www.atsc.org)
for further information. Although a detailed description of each option follows, in
practice most programming uses the default setting, Complete Main. An example of
an exception to this rule is a special karaoke DVD, or an emergency service within
digital television.
Bitstream Mode Definition

Setting
Complete Main CM flags the bitstream as the Main Audio Service for the program and all
(CM) elements are present to form a complete audio program. Currently, this is
the most common setting. The CM Service may contain from one (mono)
to six (5.1) channels.
Main M&E (ME) The bitstream is the Main Audio Service for the program, minus a
dialogue channel. The dialogue channel, if any, is intended to be carried by
an Associated Dialogue Service. Different Dialogue Services can be
associated with a single ME Service to support multiple languages.
Assc. Visual Imp. This is typically a single-channel program intended to provide a narrative
(VI) description of the picture content to be decoded along with the Main
Audio Service. The VI Service may also be a complete mix of all program
channels, comprising up to six channels.
Assc. Hear Imp. (HI) This is typically a single-channel program intended to convey audio that
has been processed for increased intelligibility and decoded along with the
Main Audio Service. The HI Service may also be a complete mix of all
program channels, comprising up to six channels.
Assc. Dialogue (D) This is typically a single-channel program intended to provide a dialogue
channel for an ME Service. If the ME Service contains more than two
channels, the D Service is limited to only one channel. If the ME Service
is two channels, the D Service can be a stereo pair; the appropriate
channels of each service are mixed together (requires special decoders).
Assc. Commentary This is typically a single-channel program intended to convey additional
(C) commentary that can be optionally decoded along with the Main Audio
Service. This service differs from a Dialogue Service because it contains
an optional, rather than a required, dialogue channel. The C Service may
also be a complete mix of all program channels, comprising up to six
channels.
Assc. Emergency This is a single channel service that is given priority in reproduction.
A-13
Bitstream Mode Definition

Setting
(E) When the E Service appears in the bitstream, it is given priority in the
decoder and the Main Service is muted.
Assc. Voice Over This is a single channel service intended to be decoded and mixed to the
(VO) center channel (requires special decoders).
Main Sv Karaoke
(K)
The bitstream is a special service for karaoke playback.
Line Mode Compression Profile

Line Mode is discussed in Section A.3, Dynamic Range Control.
RF Mode Compression Profile

RF Mode is discussed in Section A.3, Dynamic Range Control.
RF Overmodulation Protection
This parameter is designed to protect against overmodulation when a decoded Dolby
Digital bitstream is RF modulated. When enabled the Dolby Digital encoder includes
pre-emphasis in its calculations for RF Mode compression. The parameter has no
effect when decoding using Line Mode compression. Except in rare cases, this
parameter should be disabled.
RF Overmodulation Protection
Setting
Enable
Disable
A-14
Center Downmix Level

When the encoded audio has three front channels (L, C, R), but the consumer has
only left and right front speakers, this parameter indicates the nominal downmix level
for the center channel with respect to the left and right channels. Dolby Digital
decoders use this parameter during downmixing in Lo/Ro mode when Extended BSI
parameters are not active.
Center Downmix Level Definition

Setting
0.707 (–3 dB) default The center channel is attenuated 3 dB and
sent to the left and right channels.
0.596 (–4.5 dB) The center channel is attenuated 4.5 dB and
0.500 (–6 dB) The center channel is attenuated 6 dB and
Surround Downmix Level

When the encoded audio has one or more surround channels but the consumer does
not have surround speakers, this parameter indicates the nominal downmix level for
the surround channel(s) with respect to the left and right front channels. Dolby Digital
decoders use this parameter during downmixing in Lo/Ro mode when Extended BSI
parameters are not active.
Surround Downmix Definition

Level Setting
0.707 (–3 dB) default The left and right surround channels are each
attenuated 3 dB and sent to the left and right
front channels, respectively.
0.5 (–6dB) Same as above, but the signal is attenuated 6 dB.
0 (–999dB) The surround channel(s) are discarded.
A-15
Dolby Surround Mode

This parameter indicates to a Dolby Digital decoding product that also contains a
Dolby Pro Logic decoder (for example a 5.1-channel amplifier) whether the two-
channel encoded bitstream contains a Dolby Surround (Lt/Rt) program that requires
Pro Logic decoding. Decoders can use this flag to automatically switch on Pro Logic
decoding as required.
Dolby Surround Mode Definition

Setting
Not Dolby Surround The bitstream contains information that was not
Dolby Surround encoded.
Dolby Surround The bitstream contains information that was
Dolby Surround encoded. After Dolby Digital
decoding, the bitstream is Pro Logic decoded.
Not Indicated There is no indication either way
Audio Production Information

This parameter indicates whether the mixing level and room type values are valid. If
Yes, then a receiver or amplifier could use these values as described below. If No,
then the values in these fields are invalid. In practice only high-end consumer
equipment implements these features.
Audio Production Definition

Information Setting
Yes Mixing Level and Room Type

parameters are valid.
No Mixing Level and Room Type
parameters are invalid and should
be ignored.
Mixing Level
The Mixing Level parameter describes the peak sound pressure level (SPL) as
experienced during the final mixing session at the studio or on the dubbing stage. The
parameter allows an amplifier to set its volume control such that the SPL in the replay
environment matches that of the mixing room. This control operates in addition to the
dialogue level control, and is best thought of as the final volume setting on the
consumer’s equipment. This value can be determined by measuring the SPL of pink
noise at studio reference level and then adding the amount of digital headroom above
that level. For example, 85dB equates to a reference level of –20dBFS; the mixing
level is 85+20, or 105 dB.
Mixing Level Setting
80 to 111 dB in 1 dB
increments
A-16
Room Type
The Room Type parameter describes the equalization used during the final mixing
session at the studio or on the dubbing stage. A Large room is a dubbing stage with
the industry standard X-curve equalization; a Small room has flat equalization. This
parameter allows an amplifier to set the same equalization as heard in the final mixing
environment.
Room Type Setting
Not Indicated
Large
Small
Copyright Bit
This parameter indicates whether the encoded Dolby Digital bitstream is copyright
protected. It has no affect on Dolby Digital decoders and is purely for information.
Copyright Bit Setting
Yes
No
Original Bitstream
This parameter indicates whether the encoded Dolby Digital bitstream is the master
version or a copy. It has no affect on Dolby Digital decoders and is purely for
information.
Original Bitstream
Setting
Yes
No
A-17
Note: The parameters DC Filter, Lowpass Filter, LFE Lowpass Filter, Surround
3 dB Attenuation, and Surround Phase Shift appear after the Extended BSI
parameters on Dolby E and Dolby Digital equipment menus.
DC Filter
This parameter determines whether a DC blocking 3 Hz highpass filter is applied to
the main input channels of a Dolby Digital encoder prior to encoding. This parameter
is not carried to the consumer decoder. It is used to remove DC offsets in the program
audio and would only be switched off in exceptional circumstances.
DC Filter Setting
Enable
Disable
Lowpass Filter
This parameter determines whether a lowpass filter is applied to the main input
channels of a Dolby Digital encoder prior to encoding. This filter removes high-
frequency signals that are not encoded. At the suitable data rates this filter operates
above 20 kHz. In all cases it prevents aliasing on decoding and is normally switched
on. This parameter is not passed to the consumer decoder.
Lowpass Filter Setting
Enable
Disable
LFE Lowpass Filter

This parameter determines whether a 120 Hz 8th order lowpass filter is applied to the
LFE channel input of a Dolby Digital encoder prior to encoding. It is ignored if the
LFE channel is disabled. This parameter is not sent to the consumer decoder. The
filter removes frequencies above 120 Hz that would cause aliasing when decoded.
This filter should only be switched off if the audio to be encoded is known to have no
signal above 120 Hz.
LFE Lowpass Filter Setting
Enable
Disable
Surround 3 dB Attenuation
The Surround 3 dB Attenuation parameter determines whether the surround
channel(s) are attenuated 3 dB before encoding. The attenuation actually takes place
inside the Dolby Digital encoder. It balances the signal levels between theatrical
A-18
mixing rooms (dubbing stages) and consumer mixing rooms (DVD or TV studios).
Consumer mixing rooms are calibrated so that all five main channels are at the same
sound pressure level (SPL). For compatibility reasons with older film formats,
theatrical mixing rooms calibrate the surround channels 3 dB lower in SPL than the
front channels. The consequence is that signal levels on tape are 3 dB louder.
Therefore, to convert to a consumer mix from a theatrical calibration it is necessary to
reduce the surround levels by 3 dB by enabling this parameter.
Surround 3 dB
Attenuation Setting
Enable
Disable
Surround Phase Shift

This parameter causes the Dolby Digital encoder to apply a 90-degree phase shift to
the surround channels. This allows a Dolby Digital decoder to create an Lt/Rt
downmix simply. For most material the phase shift has a minimal impact when the
Dolby Digital program is decoded to 5.1 channels, but provides an Lt/Rt output that
can be Pro Logic decoded to L, C, R, S, if desired. However, for some phase-critical
material (such as music) this phase shift is audible when listening in 5.1 channels.
Likewise some material downmixes to a satisfactory Lt/Rt signal without needing this
phase shift. It is therefore important to balance the needs of the 5.1 mix and the Lt/Rt
downmix for each program. The default setting is Enable.
Surround Phase Shift Setting
Enable
Disable
A.5.2 Extended Bitstream Information Parameters

In response to requests from content producers, Dolby Laboratories recently modified
the definitions of several metadata parameters from their original definition as
described in ATSC document A/52. The original parameters were rarely, if ever used.
The revised definitions allow more information to be carried about the audio program
and allow more choices for stereo downmixing. When the metadata parameters
carried in Dolby Digital were first described, they were generically called Bitstream
Information or BSI. We refer to the alternate parameter definitions as Extended BSI.
Because the revised definitions affect metadata parameters that were not used by the
consumer decoders, all decoders will be compatible with the revised bitstream. Newer
decoders that are programmed to detect and decode the new parameters will be able
to implement the new features the Extended BSI provides.
A-19
Products that allow emulation of the effects of metadata, such as the DP570, normally
have a feature that allows emulation of a new (or compliant) decoder or a legacy
decoder.
Preferred Stereo Downmix Mode

This parameter allows the producer to select either the Lt/ Rt or the Lo/Ro downmix
in a consumer decoder that has stereo outputs. Consumer receivers are able to
override this selection, but this parameter provides the opportunity for a 5.1-channel
soundtrack to play in Lo/Ro mode without user intervention. This is especially useful
on music material.
Preferred Stereo Downmix Mode

Setting
Not Indicated
Lt/Rt Preferred
Lo/Ro Preferred
Lt/Rt Center Mix Level

This parameter indicates the level shift applied to the center channel when adding to
the left and right outputs when downmixing to an Lt/Rt output. Its operation is similar
to the center downmix level in the universal metadata.
Lt/Rt Center Mix Level Setting
1.414 (+3.0 dB)

1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
A-20
Lt/Rt Surround Mix Level

This parameter indicates the level shift applied to the surround channels when
downmixing to an Lt/Rt output. Its operation is similar to the surround downmix level
in the universal metadata.
Lt/Rt Surround Mix Level Setting
1.414 (+3.0 dB)

1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Lo/Ro Center Mix Level

This parameter indicates the level shift applied to the center channel when adding to
the left and right outputs when downmixing to a Lo/Ro output. When Extended BSI
parameters are active, this parameter is used and the Center Mix Level parameter in
the universal parameters is not.
Lo/Ro Center Mix Level Setting
1.414 (+3.0 dB)

1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
A-21
Lo/Ro Surround Mix Level

This parameter indicates the level shift applied to the surround channels when
downmixing to a Lo/Ro output. When Extended BSI parameters are active, this
parameter is used, and the Surround Mix Level parameter in the universal parameters
is not.
Lo/Ro Surround Mix Level Setting
1.414 (+3.0 dB)

1.189 (+1.5 dB)
1.000 (0.0 dB)
0.841 (–1.5 dB)
0.707 (–3.0 dB)
0.595 (–4.5 dB)
0.500 (–6.0 dB)
0.000 (–999 dB)
Surround EX Mode
This parameter is used to identify the encoded audio as Surround EX encoded
material. This parameter is only used if the encoded audio has two surround channels.
An amplifier or receiver with Dolby Digital Surround EX decoding can use this
parameter as a flag to switch the decoding on or off automatically. The behavior is
similar to the Dolby Surround Mode parameter.
Surround EX Setting
Not Indicated
Not Surround EX
Dolby Surround EX
A/D Converter Type

This parameter allows audio that has passed through a particular A/D conversion
stage to be marked as such so that a decoder may apply the complementary D/A
process.
A/D Converter Type Setting
Standard
HDCD
A.6 Metadata Combinations

Table A-3 provides examples of combinations of parameters that could be used as a
preset.
A-22
Note: These parameter settings are provided as examples to demonstrate that

different settings can be saved, named, and brought up as needed for quick
use in different situations. The settings are not recommendations, but could
provide a baseline starting point from which to create your own metadata
values.
Table A-3 Examples of Possible Metadata Settings

Parameter Action Film Drama Local News Music (5.0) Live

(5.1) (Lt/Rt) (Mono) Sporting
Events (5.0)
Dialogue Level –27 dB –27 dB –20 dB –15 dB –18 dB

Channel Mode 3/2L 2/0 1/0 3/2 3/2
LFE Channel Enable N/A N/A Disable Disable
Main Main Main Main Main
Bitstream Mode
Complete Complete Complete Complete Complete
Film Music Film
Line Mode Pro Film Light Speech
Standard Standard Standard
Film Music Film
RF Mode Pro Film Light Speech
Standard Standard Standard
RF Ovrmd Protect Disable Disable Disable Disable Disable
Center Dwnmix 0.707 dB 0.707dB 0.707 dB
N/A N/A
Lev (–3 dB) (–3 dB) (–3 dB)
0.707 dB 0.707 dB 0.707 dB
Srnd Dwnmix Lev N/A N/A
(–3 dB) (–3 dB) (–3 dB)
Dolby
Dolby Srnd Mode N/A N/A N/A N/A
Surround
Audio Prod Info Yes Yes No Yes No
Mix Level 101 dB 90 dB N/A 95 dB N/A
Room type Large Small N/A Large N/A
Copyright Yes Yes Yes Yes Yes
Original Bitstream Yes Yes Yes Yes Yes
Preferred Stereo
Lt/Rt Lt/Rt N/A Lo/Ro Lt/Rt
Downmix
Lt/Rt Center 0.707 1.0 0.707
N/A N/A
Downmix Level (–3 dB) (0.0 dB) (–3 dB)
Lt/Rt Surround 0.707 0.595 0.707
N/A N/A
Downmix Level (–3 dB) (–4.5 dB) (–3 dB)
Lo/Ro Center 0.707
N/A N/A N/A N/A
Downmix Level (–3 dB)
Lo/Ro Surround 0.595
N/A N/A N/A N/A
Downmix Level (–4.5 dB)
Dolby
Dolby Surround
Surround N/A N/A N/A N/A
EX Mode
EX
A-23
Parameter Action Film Drama Local News Music (5.0) Live

(5.1) (Lt/Rt) (Mono) Sporting
Events (5.0)
A/D Converter
Standard Standard Standard Standard Standard
Type
DC Filter Enable Enable Enable Enable Enable
Lowpass Filter Enable Enable Enable Enable Enable
LFE Lowpass
Enable N/A N/A N/A N/A
Filter
Srnd 3 dB Atten Enable N/A N/A Disable Disable
Srnd Phase Shift Enable N/A N/A Enable Enable
A-24
Appendix B
Front-Panel Menu Trees
Setup Menu Structure
Top Level Menu Node
Middle Level Menu Node
Parameter Selection Menu Node
Text Entry Menu Node
Confirmation Menu Node
Special Menu Node
Pop-Up Menu Node
or Indicates direction of movement through menu hierarchy,

not specific key effects
Indicates that multiple menu nodes exist between those

shown
B-1
Model DP570 User’s Manual Appendix B: Front-Panel Menu Trees
DP570 Unit Setup Menu
DP570 Unit Setup DP570 Unit Setup DP570 Unit Setup DP570 Unit Setup DP570 Unit Setup DP570 Unit Setup DP570 Unit Setup
Program Select User Presets Operating Mode Program Config Metadata Params Configuration System Settings
Program Select to User Presets to Operating to Metadata Params to System Settings

Program Config
Submenu Mode Submenu Submenu Submenu
1 Program Desc 5.1 + 2
Configuration Configuration Configuration

Emulator Config Router Config Monitor Config
to Emulator to Router Config to Monitor Config

Config Submenu Submenu Submenu
B-2
User Presets Menu
User Presets User Presets

Recall Preset Save Preset
Recall Preset Save Preset Save Preset

01X Preset Name Preset 01 Preset 32
Enter Type Enter Type Enter Type

All Authoring Emulator
Enter Name
Preset Name
Save Preset
ENTER=Yes ESC=No
To User Presets/
Save Preset menu
Operating Mode Menu
Operating Mode Operating Mode Operating Mode

Set Dialogue Lev Lt/Rt Input Emulator Bypass
Lt/Rt Input Emulator Bypass

Disable Disable
Set Dialogue Lev

Set Level
Input -xxdB
Dialog Lev -yydB
B-3
Metadata Params Setup Menu

Parameter Select
Submenu Order
Dialogue Lev
Channel Mode
Metadata Params Metadata Params LFE Channel
Dialogue Lev Srnd Ph Shift Bitstrm Mode
Line Mode Pro
RF Mode Pro
Dialogue Lev Srnd Ph Shift RF Ov Protect
-27dB Enable Dolby Srnd
Audio Prod Info
Mixing Level
Room Type
Copyright
Original Bitstrm
Pref Dwnmx
Lt/Rt C Dwnmx
Lt/Rt S Dwnmx
Lo/Ro C Dwnmx
Lo/Ro S Dwnmx
Dolby Srnd EX
A/D Conv Type
DC Filter
Lowpass Filt
LFE Filter
Srnd 3dB Attn
Srnd Ph Shift
from Configuration Menu Emulator Configuration Menu
Emulator Config Emulator Config Emulator Config Emulator Config Emulator Config Emulator Config
Test Noise Center Delay Surround Delay Pro Logic Delay Bass Management SW Xover Freq
Test Noise Center Delay Surround Delay Pro Logic Delay Bass Management SW Xover Freq
Off 0 ms 0 ms 15 ms None 80 Hz
Emulator Config Emulator Config Emulator Config Emulator Config Emulator Config
LFE Monitor Mode Back Surround Sticky Settings Extended BSI Digital Ref
LFE Monitor Mode Back Surround Sticky Settings Extended BSI Digital Ref
Auto Select None Enable Disable -20 dB
B-4
Router Configuration Menu

from Configuration Menu
Router Config Router Config Router Config

Router Presets Router Out 1 Router Out 8
Router Presets Router Presets Router Out 1

Recall Router Save Router Audio In 1
Recall Router Save Router Save Router

01-RPRESET 1 Preset 1 Preset 4
Enter Name
Preset Name
Save Router
ENTER=Yes ESC=No
To main
Configuration
Menu
B-5
Monitor Configuration Menu

from Configuration
Menu
Monitor Config Monitor Config Monitor Config Monitor Config Monitor Config
Master Trim Dim Gain Speaker Select Speaker Trims Test Noise
Dim Gain Speaker Select Test Noise

Master Trim -20 dB Multichannel Off
speaker Trim
speaker Trim
0 dB
Speaker Select Multichannel Stereo Mono
Speaker Trims Speaker Trims Speaker Trims

Stereo L Stereo R Mono Center
Stereo L Stereo R Mono Center

0 dB 0 dB 0 dB
Speaker Trims Speaker Trims Speaker Trims Speaker Trims Speaker Trims Speaker Trims Speaker Trims Speaker Trims
Multichan L Multichan R Multichan C Multichan SW Multichan Ls Multichan Rs Multichan Bsl Multichan Bsr
Multichan L Multichan R Multichan C Multichan SW Multichan Ls Multichan Rs Multichan Bsl Multichan Bsr
0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB 0 dB
B-6
System Settings Setup Menu
System Settings System Settings System Settings System Settings

Unit Name Communications GPI Setup GPO Setup
To
Unit Name
communications
Name
submenu
GPI Setup GPI Setup GPO Setup GPO Setup

GPI Pin 23 GPI Pin 36 GPO Pin 4 GPO Pin 19
GPI Pin 23 GPI Pin 23 GPI Pin 23 GPO Pin 4 GPO Pin 4 GPO Pin 4
GPI 1 Trigger GPI 1 Polarity GPI 1 Function GPO 4 Trigger GPO 4 Polarity GPO 4 Function
GPI 23 Trigger GPI 23 Polarity GPI 23 Function GPO 4 Trigger GPO 4 Polarity GPO 4 Function
Edge Negative/Low Preset 1 Edge Negative/Low Lt/Rt Input
Communications
Menu
From System
Settings Setup
Menu
Communications
Remote Setup
Remote Setup Remote Setup

Baud Rate Unit Address
Baud Rate Unit Address

115200 8280
B-7
DP570 Status Menu
5.1 + 2 Internal Metadata Params Preset Status Video Ref Audio Input
Prog 1 3/2L 27 ENTER to View None 29.97 fps Locked 48khz
to Metadata Params
Status Menu
Delay Status Error Status Firmware Version

ENTER to View ENTER to View 1.0.7
Delay to Error Status

Minimal Menu
B-8
Metadata Params Status Menu

Metadata Params
Status Menu Order
Program Descrip
Dialogue Lev
Channel Mode
Program Descrip Dialogue Lev Srnd Ph Shift LFE Channel
Prog 1 -27 dB Disable Bitstrm Mode
Line Mode Pro
RF Mode Pro
RF Ov Protect
Center Dwnmx
Srnd Dwnmx
Dolby Srnd
Audio Prod Info
Mixing Level
Room Type
Copyright
Original Bitstrm
Pref Dwnmx
Lt/Rt C Dwnmx
Lt/Rt S Dwnmx
Lo/Ro C Dwnmx
Lo/Ro S Dwnmx
Dolby Srnd EX
A/D Conv Type
DC Filter
Lowpass Filt
LFE Filter
Srnd 3dB Attn
Srnd Ph Shift
Error Status Menu
Metadata In 1 Metadata In 2 Remote In

No Errors No Errors No Errors
B-9

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Model DP570

Multichannel Audio Tool

Dolby Laboratories, Inc.

List of Figures ............................................................................................................................vi

4.6 Input Router Settings.............................................................................. 4-10

7.7.2 Audio Processing ....................................................................... 7-11

Regulatory Notices and Fusing Information

WARNING: Troubleshooting must be performed by a trained technician. Do not

The ground terminal of the power plug is connected

IMPORTANT SAFETY NOTICE

Check Main Fuse

Open the door

Figure 1 Checking the Main Fuse

Cat. No. 548 Analog Option Card

Figure 1-1 Audio Block Diagram

2.1 Unpacking and Inspection

Essential items are provided with the unit, including:

A typical physical installation of a basic setup is shown in Figure 2-1.

Figure 2-1 Connecting the DP570

2.3 The Back Panel

1/2 3/4 5/6 7/8

Figure 2-2 Connections: Signal In and Out

Figure 2-2 definitions:

Figure 2-3 Connections: Analog Outputs, GPI/O, and Ethernet

Figure 2-3 definitions:

Figure 2-4 Connections: Metadata In and Out, Serial Remote

Figure 2-4 definitions:

2.4 Quick Start Guide

2.4.1 Viewing Current Status Menu

The status menu shows you:

1. Program Configuration. In this example, 5.1+2 includes two programs—

2.4.2 Setting Up Monitors

1. Choose back surround speaker setting.

Note: All adjustments necessary in setting up a monitor system are available on a

Back Surround Speaker

The display changes to:

4. Press the → button to change the second-line display to Back Surround,

Speaker Delay Values

• Left speaker (L)

In the calculations that follow:

To enter the center delay setting using the front-panel buttons:

To enter the surround delay setting using the front-panel buttons:

Pro Logic Delay

• If your monitoring system consists of five satellite speakers and a subwoofer,

Figure 2-5 Bass Management Menu Options

Figure 2-6 Subwoofer Crossover Frequency Menu Options

To adjust the bass management setting using the front-panel buttons:

4. Press the → button to change the second-line display to SW Xover Freq,

Digital Reference Level

To adjust the digital reference level:

To access the Monitor Config menu:

2. Press the → button to change the second-line display to Monitor Config

LFE Channel +10 dB datum

Center channel 0 dB datum

Figure 2-7 Real Time Analyzer (RTA) Display

Calibrating Emulator Output

We also provide a section on output signal information.

Figure 3-1 shows the control options for the DP570.

Figure 3-1 Control Options

3.1 Content Creation

Using Metadata to Improve a Downmix

Checking Other Mixes